A short audio demonstration of the Rumore Cinematic Impacts sample library by HAL9K.

Download: http://99sounds.org

Rumore Cinematic Impacts DEMO

Constitutional recognition for First Nation Australians is long overdue. Original track written in 2020. Dean on all vocals and guitars. 

Set the Record Straight

Date de publication: 13/12/2023

Musique: arrangements, claviers, mixage, mastering: Cyril MENDEZ

Paroles: Madam Snowflake

Voix: Madam Snowflake
Official site: www.emilyrichards.com/
https://ccmixter.org/files/snowflake/56386

Guitares: Antoine COSENTINO BOGLIO 
Jeune guitariste énormément talentueux de 14 ans à peine !! Il m'a impressionné lorsque je l'ai entendu sur scène au début de l'été !! Je le remercie d'avoir participé à cette collaboration.

Musique originale composée pour Spirit XperienZ
Site officiel: spiritxperienz.fr/

Un grand merci à Damien MAUREL(Visions of Dystopia)
@visions-of-dystopia

Un grand merci à Lucas RIVIERE pour sa participation
https://soundcloud.com/piano-melody-939866383

© Cyril MENDEZ 2023, All Rights Reserved.

Unbury your heart (Feat. Madam Snowflake With Antoine COSENTINO BOGLIO Guitars)

VIDEO - https://youtu.be/9J3ZFhL9tBE?si=4KHYyWI9YeT8c-UD

Thank you to those that have continued to follow this profile despite the dormant activity for over a year. 
I have deleted some old tracks and now have room for some new material to be posted here. (Which will all be downloadable)
For my complete music output please follow Mood Exhibit -
@r-salchaks-mood-exhibit

Blink Twice -  /dəˈvou(ə)r/

ore train, bright colors, passing quickly

Windemere_Naviarhaiku527

What's a month for the sea
as the waves touch my feet
a shiver, endless
(Marco)

https://www.naviarrecords.com/naviarhaiku528-whats-a-month-for-the-sea/

As the Waves touch my feet-naviarhaiku528

(listen to it with headphones) 
a king fighting for his kingdom, while also fighting his own internal battles.. depression and hopelessness..
the king is falling apart and feeling helpless..
he has too many battles to fight and he struggles to stay on his feet.. feeling overwhelmed and defeated, though he still pushes forward, with that tiny bit of hope he still has in him to see the light at the end of the tunnel.

Fallen King

Lunaflowers

Yam Rats

Disquiet Junto Project 0651: Why Compute?
The Assignment: Respond to a prompt from George E. Lewis.
Lewis asks, “Why do we want our computers to improvise?”

Interesting question! Sparked several lines of thought.
I’d been thinking quite a bit about self directed (improvising) musical systems lately. Inspired both by my own incorporation of forms of ‘machine listening’ into my setup (using the FluCoMa toolbox) and also by the so called ‘cybernetic’ feedback systems discussed in this thread on Lines: https://llllllll.co/t/cybernetic-music-roland-kayn-feedback-systems/40635. 

So far, I’d been using the FluCoMa analysis tools mostly on incoming audio: detecting pitch, transients and several spectral properties of incoming signals to then do stuff ‘downstream’. It struck me that using these analysis tools on the outgoing sound and then controlling things ‘upstream’ it should be possible to set up self-stabilizing systems that the mid 20th century cyberneticians were so fond of.
So I’ve begun some tests to see what the tools I’d use for this might look like. Still a bit too early to actually make music with, though. 
So the piece I’m sharing here is does not use any algorithmic or stochastic mechanisms. But in other ways it does do things that are for me at the heart of why we might want our computers to improvise. That is: allowing our machines more agency in the practice of composing, improvising, playing, can make that practice more interesting and rewarding for us, the human composers, improvisers, players. On the one hand, having our machines surprise us somewhat as we interact with them, stimulates our curiosity and creativity: how do we respond in a meaningful, musical way to such surprises. And on the other hand, sharing agency takes some of the burden off our often somewhat fragile and self-critical ego’s in the creative process: the challenge becomes a bit less ‘to create an amazing masterpiece from nothing’ and a bit more ‘to respond to whatever is there’.
So even though in my piece the computer doesn’t really, really improvise, there is plenty of stuff in place that gives the machines some agency (special, complex mapping of effects parameters; looping of audio and effects parameter values; even a bit of feedback routing in a somewhat ‘cybernetic’ way). As a result, I’m never entirely sure what my playing (my musical gestures) will produce. The result feels like a mutual exploration of human and machine within the piece.

More on the 651st weekly Disquiet Junto project, Why Compute? — The Assignment: Respond to a prompt from George E. Lewis — at https://disquiet.com/2024/06/20/disquiet-junto-project-0651-why-compute/

The Dance Of Agency (disquiet0651)

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Rumore Cinematic Impacts DEMO

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