Author Archives: Kevinernste

DIY class – 2421 materials for Arduino

Please download the following:

Max for Live materials

Please download the following example for use in today’s lab.

mousebalancer.amxd

Here is a link to the download location for PureData (Pd):

https://puredata.info/downloads

We will be using the “vanilla” version maintained by Miller Puckette but I will explain a bit about other available version, including:

Purr Data: https://agraef.github.io/purr-data/
PdL2Ork: https://l2ork.music.vt.edu/main/make-your-own-l2ork/software/
Pd CEAMMC (Centre of Electoacoustic Music of Moscow Conservatory): https://puredata.info/downloads/ceammc

All three of these are built upon a historic version of Pd called “Pd-extended”, which I will discuss in class (by way of showing scope, a list of objects available can be found here). Pd is a sister application to Max/MSP, which has been included in the Suite version of Live for many years and is foundational to many powerful extension of Live’s core functionality. Pd can also be embedded as a VST in Live via tools like, Camomile.

In addition to PD’s built-in Help system, please see the following sites for more help and shared patches.

– PD Forum and Patch Repo – Repository for patches, tutorials, and discussion related to PD.

– PD FLOSS Manuals – including concepts, working patches, and installation/setup help

– Programming Electronic Music in PD (“loadbang”) – Johannes Kreidler’s book

Materials for class session on effects routing

Sound check times are listed below. If you cannot make your time slot, please let us know ASAP.

Since it came up in our sections on Thursday, here is a page on re-creating/synthesizing the sounds of the original film Blade Runner (score, performance, and production by http://elsew.com/) on various hardware and software synths. I invite you to try your hand with Ableton Operator!

Attached are the materials from class today for building a delay patch using PD, including:

1. A patch collecting and explaining all objects needed for your own patch

2. A working “classical” feedback/multi-tap delay, just as an example. Note the use of “wireless” send/receive between the graphical objects at the top and the working “guts” of the patch below.

Download Delay Materials >

The Max for Live object we spoke about, by analog, is the “Tapped delay” found in “Max for Live –> Max for Live Effects” in the Ableton left sidebar where all of the other effects are.

A series of initial tutorials for using Max for Live can be found here.

See Episode #3 for building simple delay, very similar to the one we made together today.

https://drive.google.com/file/d/1Xbr9VlNUYcX7wbOUBtlD4S8vTY7kclsq/view?usp=sharing

Erik Satie’s “Vexations” for piano (video is nearly 12 hours):

Robert Fripp’s “Frippertronics” setup using two tape machines developed and used by him and Brian Eno on No Pussyfooting:

Terry Riley on his own origins in using live looping:

Terry Riley’s In C: please read the following page, which includes the interactive GUI’s I used in Lecture today:

Terry Riley’s “In C”: A Journey Through a Musical Possibility Space

Original recording from 1968:

Africa Express’s In C Mali:

In Bb, an online project following onto In C:

https://www.inbflat.net/

Steve Reich’s “Come Out”:

Pauline Oliveros’s “Bye Bye Butterfly”:

Brian Eno’s Music for Airports:

And to remind you that repetition, even literal and continuous repetition of the same materials, is nothing new … this famous aria from Henry Purcell’s 1689 Dido and Aeneas, the piece “Dido’s Lament”, uses a repeating ground bass (passacaglia), here to create as sense of growing intensity.

Sounds and information on Édouard-Léon Scott de Martinville’s first recordings on the First Sounds project archive:

http://www.firstsounds.org/videos/

Principes de Phonoautographie (1857 publication)

John Cage’s “Imaginary Landscape #1”, 1939:

Pierre Schaeffer’s “Etude aux chemins de fer”, 1948 (musique concrète):

Karlheinz Stockhausen’s “Etude II”, 1954