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TidalCycles – A language for the Live Coding pattern

tidalcycles.org

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Re: TidalCycles – A language for the Live Coding pattern

#11

Post by midgetjones »

goldenkey wrote: post #7
midgetjones wrote: post #4

Earlier quoted context omitted.

How dare they!

More like "How is this news?" but take offense if you wish

You didn't communicate that very well. All I got was that you didn't understand what it was but you sure as hell had an opinion anyway.

Re: TidalCycles – A language for the Live Coding pattern

#13

Post by necrotic_comp »

sandbags wrote: post #5
goldenkey wrote: post #2

Another one? So how is this one different than all the languages that do this (like Chuck or Overtone) AND the libs for C++/all other languages that generate audio as well? The original THX sound was generated in C. I would be inclined to use a language that had more signal processing built in, ie Mathematica: https://reference.wolfram.com/language/guide/SoundAndSonific... https://reference.wolfram.com/language/guide…

If i understand what they are doing then it's not really equivalent as this seems to be a DSL for transforming textual patterns into music, rather than a general purpose music language. While you can dive under the covers it's not required. Getting to this point in Overtone would be some work, so here you can just get started playing with it. Chuck i have less experience with enough to think the same thing applies. T…

That's exactly what this is - it's a small DSL that evaluates to create triggers at moments in time. These triggers are then evaluated by an endpoint (like the sampler included with tidal) to make sound.

Re: TidalCycles – A language for the Live Coding pattern

#16

Post by mhroth »

sandbags wrote: post #5
goldenkey wrote: post #2

Another one? So how is this one different than all the languages that do this (like Chuck or Overtone) AND the libs for C++/all other languages that generate audio as well? The original THX sound was generated in C. I would be inclined to use a language that had more signal processing built in, ie Mathematica: https://reference.wolfram.com/language/guide/SoundAndSonific... https://reference.wolfram.com/language/guide…

If i understand what they are doing then it's not really equivalent as this seems to be a DSL for transforming textual patterns into music, rather than a general purpose music language. While you can dive under the covers it's not required. Getting to this point in Overtone would be some work, so here you can just get started playing with it. Chuck i have less experience with enough to think the same thing applies. T…

I'm in a related field (I do a lot of signal processing in Pure Data), and I also keep an eye on the live coding scene. You're absolutely right here in that Tidal isn't about signal processing, it's about a flexible, creative, and expressive way to issue musical commands as text. It isn't so much an audio programming language, as it is a musical programming language.

Other languages such as Chuck, Supercollider, Pd, or Max are much better suited to the signal processing side of things (though there are certainly plenty of pained souls who have done plenty of musical work in these languages).

Edit: I can safely say that if you're planning on getting into live coding, Tidal is the way to go. I wouldn't recommend anything else. There be dragons.

Re: TidalCycles – A language for the Live Coding pattern

#17

Post by yaxu »

sandbags wrote: post #5
goldenkey wrote: post #2

Another one? So how is this one different than all the languages that do this (like Chuck or Overtone) AND the libs for C++/all other languages that generate audio as well? The original THX sound was generated in C. I would be inclined to use a language that had more signal processing built in, ie Mathematica: https://reference.wolfram.com/language/guide/SoundAndSonific... https://reference.wolfram.com/language/guide…

If i understand what they are doing then it's not really equivalent as this seems to be a DSL for transforming textual patterns into music, rather than a general purpose music language. While you can dive under the covers it's not required. Getting to this point in Overtone would be some work, so here you can just get started playing with it. Chuck i have less experience with enough to think the same thing applies. T…

Yes it's for exploring patterns. It's not unique in this (cf supercollider patterns, foxdot, isobar, gibber patterns, ixilang etc) but is fairly unique in its purist focus on pattern.

Re: TidalCycles – A language for the Live Coding pattern

#18

Post by petra »

mezod wrote: post #9

I'll just leave this here... :p Sonic Pi: http://sonic-pi.net/ On GH: https://github.com/samaaron/sonic-pi Aerodaynamic: https://www.youtube.com/watch?v=cydH_JAgSfg

For beginners(assuming some programming knwoldge), what is the easiest way to improvise electronic music: live-coding ? or or a keyboard based software studio application, like fruity loops ? or are there any others ?

Re: TidalCycles – A language for the Live Coding pattern

#19

Post by eggy »

Tidal (they added cycles when the Tidal music service came afterwards) is great fun. I was hoping to get Hylogen working with it.

Hylogen is an EDSL for livecoding shaders in Haskell [1]

My weapon of choice is Extempore by Andrew Sorensen [1]. Dual languages in one system available for blistering speed in livecoded graphics and sound/music.

  [1] https://github.com/sleexyz/hylogen

  [2] http://extempore.moso.com.au/

Re: TidalCycles – A language for the Live Coding pattern

#20

Post by visarga »

eggy wrote: post #19

Tidal (they added cycles when the Tidal music service came afterwards) is great fun. I was hoping to get Hylogen working with it. Hylogen is an EDSL for livecoding shaders in Haskell [1] My weapon of choice is Extempore by Andrew Sorensen [1]. Dual languages in one system available for blistering speed in livecoded graphics and sound/music. [1] https://github.com/sleexyz/hylogen [2] http://extempore.moso.com.au/

Andrew Sorensen's demo makes me wonder if classical music could be "decompiled" as a series of recursive functions, giving us a clear conceptual explanation of what is happening. Then, we could reverse the process to generate similar music, or explore variations.
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