February 2017 - chuck-users - lists.cs.princeton.edu

Open source + musical composition?
by jake danson-faraday 24 Feb '17

24 Feb '17

Hi everyone, Like a lot of people here, I am at least somewhat familiar with a few other open source synthesis programs. Each has its own set of peculiarities, which will shape the work, style, sounds, process, etc. But does being open source count as one of those peculiarities? I would love to know if anyone feels like there is a direct relationship between the music they make with ChucK and the fact that ChucK is open source. Do you compose music differently than you would with a purchased software package? Are your sonic standards higher / lower / unchanged? Are you more / less musically adventurous (what ever that might mean to you)? Are you more / less likely to use sounds from other users? I've seen dozens of threads in various places that develop an idea over the course of several days, including songs, sounds, bigger programming projects. This seems to suggest a unique, open source approach / ethic, at least in the way people communicate about their work. But what about the music itself? I'd be very curious to hear any comments on this! Thanks! jake

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language-chuck package for Atom
by Szilveszter Tóth 19 Feb '17

19 Feb '17

Hello everyone, A new version of the language-chuck syntax highlighting package for the Atom editor has been released. I have also contributed to it, it recognizes all the latest built-in classes (Chugins too) and works pretty well. https://atom.io/packages/language-chuck The only issue I am aware of is that it does not recognize => style one parameter function calls (it highlights them the same as variable assignments). Regards, Hillaby

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2017 CCRMA Summer Workshops
by Romain Michon 12 Feb '17

12 Feb '17

[apologies for cross posting /\ please distribute widely] Greetings, The 2017 CCRMA (Stanford University) summer workshops have been announced. Please, find the detailed schedule below. More information @: https://ccrma.stanford.edu/workshops or by contacting Nette Worthey (networth(a)ccrma.stanford.edu). We look forward to see you there! Cheers, Romain 6/19 - 6/23 *Mobile Synth I - Mobile App Development for Sound Synthesis and Processing in Faust <http://ccrma.stanford.edu/workshops/mobilesynthi-2017>*: Romain Michon 6/19 - 6/23 *Virtual Analog Models of Audio Circuitry <https://ccrma.stanford.edu/workshops/virtualanalogmodeling-2017>*: François Germain, Kurt Werner 6/26 - 6/30 *Mobile Synth II - 3D Printing and Musical Interface Design for Smartphone Augmentation <https://ccrma.stanford.edu/workshops/mobilesynthii-2017>*: Romain Michon and John Granzow 6/26 - 6/30 *Programming Max/MSP <https://ccrma.stanford.edu/workshops/maxmsp-2017>*: Structuring Interactive Software for Digital Arts: Matthew Wright, Christopher Jette 7/3 - 7/7 *Algorithmic Composition with Max/MSP and Open Music <https://ccrma.stanford.edu/workshops/algocomp-2017>*: Andrew Watts, Davor Vincze 7/10 - 7/14 *Electronic Arts Ensemble <https://ccrma.stanford.edu/workshops/eae-2017>*: Constantin Basica, Alex Chechile 7/24 - 7/28 *Music Information Retrieval* <https://ccrma.stanford.edu/workshops/music-information-retrieval-2017>: Steve Tjoa and Jeff Scott, Gracenote 7/31 - 8/4 *Deep Learning for Music Information Retrieval <https://ccrma.stanford.edu/workshops/deepmir-2017>*: Irán Román 8/7 - 8/11 *Formalized Score Control: Using Python and Abjad in Music Composition <https://ccrma.stanford.edu/workshops/abjad-2017>*: Jeff Treviño, Trevor Bača and Josiah Wolf Oberholtzer 8/13 - 8/17 *SuperCollider <https://ccrma.stanford.edu/supercollider-2017>*: Fernando Lopez-Lezcano and Bruno Ruviaro 8/21 - 8/25 *Designing Musical Games: Gaming Musical Design <https://ccrma.stanford.edu/workshops/designingmusicalgames-2017>*: Rob Hamilton and Chris Platz TO BE SCHEDULED: *Perceptual Audio Coding <https://ccrma.stanford.edu/workshops/perceptual-audio-coding-2016>:* Marina Bosi, Richard Goldberg -- Romain Michon PhD Candidate Center for Computer Research in Music and Acoustics Stanford Universityhttp://ccrma.stanford.edu/~rmichon

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Call for Papers: Algorithmic Electronic Dance Music
by Nick Collins 10 Feb '17

10 Feb '17

[apologies for cross posting] CFP: Algorithmic Electronic Dance Music Special edition of Dancecult: Journal of Electronic Dance Music Culture Guest Editors: Shelly Knotts and Nick Collins http://dj.dancecult.net/ Algorithms are at the heart of the virtual studio software applications underwriting so much contemporary dance music, but are normally the prior preserve of music engineering teams rather than musicians. This special issue, however, engages with algorithms as musical material, and especially with music which is inherently founded on computer programming technique. A recent manifestation of this is the algorave, an explicit site of live algorithmic electronic dance music (EDM), produced through such means as on stage computer programming (algorave.com). Creators of EDM have vast amounts of software at their disposal, including specific musical programming languages; modern digital audio workstations now often include the capacity to utilise a programming language, such as Python and Max/MSP embedded within Ableton Live, or Logic’s MIDI Scripter. The history of algorithmic techniques within mainstream and experimental fringe dance music predates the coining of the term algorave (Collins and McLean 2014). Powerful computer music coding environments have been co-opted for use in club contexts, by such well known figures as Autechre (Max/MSP), BT (Csound, Composer’s Desktop Project), Cylob, Aphex Twin (SuperCollider), and Holly Herndon (Chuck), amongst many others. Some artists have written their own software from scratch, such as the generative gabba-techno artists slub, or commissioned others to supply it, as with Coldcut and the VJamm and Coldcutter programs. Research in this area extends from the introduction of new algorithmic techniques for the production of dance music, to the computational analysis of existing EDM, via critical appraisal of algorithms in the wild. Live realtime systems, as well as offline studio software, have been developed. An increasingly algorithmically literate culture will see increasingly algorithmically literate music, and the rise of music-oriented computer programming has great implications for future directions within EDM. (2014) Nick Collins and Alex McLean “Algorave: live performance of algorithmic electronic dance music”. Proceedings of NIME 2014, London // SUGGESTED THEMES // Potential themes for articles include (but are not limited to): - Analysis of the work of algorithmic EDM artists - Computational analysis procedures for EDM - Surveying algorithmic techniques in EDM production - Algorithmic composition projects based on EDM styles - Live coding and EDM - Web browser based dance music systems (e.g., via Flash, HTML5, Web Audio API et al.) - Music Information Retrieval (MIR) systems and EDM content creation - The programming of interactive systems for EDM creation - Music pedagogy through coding of EDM (e.g., Sonic Pi, EarSketch et al.) - Gender, ethnicity and social trends at the crossover of computer music and club culture - Collaborating with and through algorithms; EDM groups of musical programmers - Algorithmic audiovisuals for club performance - Performance and audience reception of Algorithmic EDM // SUBMISSIONS // Feature Articles: Feature Articles will be peer-reviewed and are 6000–9000 words in length (including endnotes, captions and bibliography). For policies, see: https://dj.dancecult.net/index.php/dancecult/about/editorialPolicies#sectio… “From the Floor” Articles: This special edition will also include articles in From the Floor format (750–2500 words), which are very suitable for an artist to critically evaluate their own practice, or an academic to discuss new experiments. This format will be of particular interest to scholars and practitioners who wish to share some of the insights of their work, but are unable to devote the time necessary for a feature-length article. See guidelines at the Section Policies link above. Articles must adhere to all style and formatting rules stipulated in the Dancecult Style Guide (DSG). Download it here: https://dj.dancecult.net/public/journals/24/dancecult_styleguide.pdf Multimedia Submissions: Dancecult encourages authors to complement their written work with audio and visual material. See the DSG for style and formatting requirements. // DATES AND DEADLINES // This special edition is proposed for publication in Dancecult on 1 November 2018. If interested, send a 250-word abstract (along with a one hundred word maximum author biography) to Shelly Knotts (knotts.shelly(a)gmail.com) by 23rd March 2017. If your abstract is accepted, the deadline for submission of a full article draft to the guest editors for their comments is 1 October 2017. Beyond that, the deadline for online submission to Dancecult (for blind peer-review) is 1 February 2018. Please send enquiries and expressions of interest to Shelly Knotts: knotts.shelly(a)gmail.com A PDF version of this call, with live links and editor biographies, is available from: http://composerprogrammer.com/algoraveCFP.pdf

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Re: [chuck-users] ChucK => internet audio stream
by Stuart McDonald 05 Feb '17

05 Feb '17

Ok, so after a lot of fiddling (mostly around making documentation and audio processing work for generic installation) I've gotten chuck => darkice => icecast running in docker on a raspberry pi using ALSA snd-aloop loopback module. Some links: * https://hub.docker.com/r/concretemixer/cm-rpi-internet/ # docker image * https://github.com/concrete-mixer/cm-rpi-docker-internet # git repo for docker image with instructions on installation * https://github.com/concrete-mixer/concrete-mixer # about what you are hearing http://concrete-mixer.venturus.io/concrete-mixer.mp3 # a live implementation (hopefully running; the pi sits dangerously close to my feet). As originally mentioned my original intention was to run this on AWS, but the pi seems to accommodate chuck + darkice + icecast reasonably well (4 processors helps!). Since the setup doesn't rely on sound hardware, there's no reason an AWS machine couldn't run a similar rig. Hopefully this is useful to someone who may want to go down this path in future :). Stuart

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