21–30 of 46 posts
Does anyone else find this extremely cool from a conceptual point of view, even without the music language context? (very tempted to make an "it's music to my ears" dad joke right now)
Neat, I've been meaning to check out this language! I believe it's been in the works for a long time, but only recently published. The syntax may seem esoteric at first, but it turns out the concatenative approach is uniquely suited to creative audio DSP. It's fairly simple once you get the basic idea. The author probably hasn't tried them (otherwise they would be in the Readme), but there are actually a couple of ex…
Between this and Uiua I'm starting to think that the APL and Forth fans (or more generally array language and concatenative language fans) should team up more often. The paradigms seem to complement each other quite nicely.
Based on the WHY section of the readme I get the impression that the author of this language would agree with me.
Any chance of a flatpak (or some form of Linux Binary) for this? I've been wanting to play around with Music Programming for ages, but none of the options I looked at play well with Ubuntu. SonicPi in particular didn't run no matter what I did, I had to dualboot into Windows to get it working :'(
Supercollider, faust, chuck, csound, pure data, common music, common lisp music, and nyquist all work on Linux. Most of the open source music programming languages make Linux a high priority!
Admittedly I haven’t used any other sound programming language, so my opinion is heavily biased ;-)
I am then quite torn: keep using SuperCollider with all the accumulated UGens and example code, or switch to this elegant language and start over with a lot of basics... Leading to the question: any bridges or ways to integrate and reuse between the two?
I am then quite torn: keep using SuperCollider with all the accumulated UGens and example code, or switch to this elegant language and start over with a lot of basics... Leading to the question: any bridges or ways to integrate and reuse between the two?
How does it have such a warm analog-like sound in the demo?
- Focusing on upper harmonic content. Starting with a saw wave gets you far here, as it starts with _all_ the odd and even harmonics which you can then gently trim away. In particular, even harmonics in the mid range are often described as 'warm.'
- Using resonant filters. These too contribute to a sense of richness and warmth, especially if the resonant peak is closer to the mid range.
- Adding a sub oscillator below the primary one to give it a subtle low hum.
- Adding more oscillators and detuning them slightly with respect to each other for stereo width and play in the harmonics.
- Modulating pitch and filter parameters with slow, gentle LFOs.