zebproj
Joined 11 years ago
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251
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84
Member since
Jun 19
Recent submissions
Comment · 2 months ago
There's no "Hot Dog Stand", so the collection is incomplete.
Comment · 6 months ago
The article makes it sound like this is a very a new idea, but physical models of music instruments, including violin, has been around for over 40 years. Daisy Bell, the first piece of computer music and performed by their model, utilized a physical model of the human singing voice based on measurements of human vocal tract, and that was done in 1962.
Julius Smith wrote pretty comprehensive textbook on the subject of building physical models of musical instruments, available online. Here, for example, is a chapter on modeling bowed string sounds: https://ccrma.stanford.edu/~jos/pasp/Bowed_Strings.html
Comment · 11 months ago
I often use the general algorithm for 2/1 as my "hello world" when I'm building new generative music systems. You don't need too many ingredients to set it up, and it yields some surprisingly decent sounding results.
The most recent one[0] I made was done when I was playing around with Rust, WASM, and WebAudio. (You'll need to press somewhere to start the sound)
Comment · 1 year ago
Greetings,
What a beautiful idea. Sadly, I do not think I currently have the skills required to build such a tool.
The underlying algorithms and vocal models I'm using here are just good enough to get some singing vowels working. You'd need a far more complex model to simulate the turbulent airflow required for a cough.
If you suspend disbelief and allow for more abstract sounds, I believe you can craft sounds that have similar emotional impact. A few years ago, I made some non-verbal goblin sounds [0] from very simple synthesizer components and some well-placed control curves. Even though they don't sound realistic, character definitely comes through.
Comment · 1 year ago
Thanks everyone for the suggestions and kind words.
Some details:
The source code for this project can be found on github [0].
I am using an AudioWorklet node with custom DSP using Rust/WebAssembly. Graphics are just done with the Canvas API. The voice leading is done algorithmically using a state machine with some heuristics.
The underlying DSP algorithm is a physical model of the human voice, similar to the model you'd find in Pink Trombone [1], but with some added improvements. The DSP code for that is a small crate [2] I've been working on just for singing synthesizers based on previous work I've done.
0: https://github.com/paulBatchelor/trio
Comment · 1 year ago
Thanks, I'll look into it
Comment · 1 year ago
A tutorial would be helpful.
Holding down a note and waiting will cause a second, then a third not to appear. When you move your held, note to another pitch, the other pitches will follow, but with a bit of delay. This produces what is known as staggered voice leading, and produces interesting "in-between" chords.
Comment · 3 years ago
oh yeah, I made that.
Sporth is a stack-based language I wrote a few years ago. Stack-based languages are a great way to build up sound structures. I highly recommend trying it.
Chorth may need some fixes before it can run again. I haven't looked at it in a while, but I had a lot of fun using when I was in SLOrk.
Comment · 3 years ago
If you compare codebases, SuperCollider is definitely the more "modern" of the 2. SC is written in a reasonably modern version of C++, and over the years has gone through significant refactoring. Csound is mostly implemented in C, with some of the newer bits written in C++. Many parts of Csound have been virtually untouched since the 90s.
Syntax-wise, Csound very closely resembles the MUSIC-N language used by early computer musicians in the 60s. "Trapped in Convert" by Richard Boulanger was written in Csound in 1979, and to this day is able to run on the latest version of Csound.
Both Csound and SC are both very capable DSP engines, with a good core set of DSP algorithms. You can get a "good" sound out of both if you know what you are doing.
I find people who are more CS-inclined tend to prefer SuperCollider over Csound because it's actually a programming language you can be expressive in. While there have been significant syntax improvements in Csound 6, I'd still call Csound a "text-based synthesizer" rather than a "programming language".
That being said, I also think Csound lends itself to those who have more of a formal background in music. Making an instrument in an Orchestra is just like making a synthesizer patch, and creating events in a Csound score is just like composing notes for an instrument to play.
FWIW, I've never managed to get SuperCollider to stick for me. The orchestra/score paradigm of Csound just seems to fit better with how I think about music. It's also easier to offline render WAV files in Csound, which was quite helpful for me.
Comment · 3 years ago
You might enjoy my project called sndkit [0]. It's a collection of DSP algorithms implemented in C, written in a literate programming style, and presented inside of a static wiki. There's also a tiny TCL-like scripting language included that allows one to build up patches. This track [1] was made entirely using sndkit.
Comment · 3 years ago
I actually met BT and asked him about this track.
While it's mostly written in Csound, he "cheated" with the guitar track, which was a recorded sample brought into Csound.