Name: Breakmash SC 100114 164951 by danscratch in supercollider showcase (2010 - the beginning)
Duration: 39 s
Description: I was trying to develop a concatenative synthesis algorithm - here it's acting a bit like a timestretching algorithm scrubbing around randomly on a breakbeat

supercollider showcase (2010 - the beginning)

I was trying to develop a concatenative synthesis algorithm - here it's acting a bit like a timestretching algorithm scrubbing around randomly on a breakbeat

Breakmash SC 100114 164951

Supercollider Meets Guitar Effects Boxes, Part 2.  I decided to try a little experiment.  As many already know, Supercollider is a very powerful audio language.  I am not a programmer so I tend to seek out ready to run software as opposed to downloading the builds and making it custom to my needs.  I found this great little, ready to run, Supercollider application called Laconicism.  I ran the audio output from Laconicism through a Digitech GSP 1101 distortion unit and a Digitech TimeBender Delay.  I recorded the distorted and delayed output into Live, made a MP3 and posted it here.  It’s really a little long but shows what can be done with only two guitar effects boxes.

Supercollider Meets Guitar Effects Boxes Part 2

Representing Birdsong is a collaborative project inspired by birdsong, between sound and visual artist Lucy Stevens and tabla player Rishii Chowdhury.

The Swithland Wood Recordings has been created as a digital print, onto a 12 inch record sleeve and pressed vinyl, featuring illustrations of native birds, their songs and trees from Swithland Woods in Leicestershire. The soundtracks were captured using field recording techniques (with support from Geoff Sample) and feature birdsong and musical compositions inspired by birdsong.

Stevens and Chowdhury have come together to explore the magnificent sounds of bird vocalisations, including the variations in pitch, repetition and duration. The sounds of native birds have influenced the artists involved, by fusing field recordings, musical improvisation and drawing techniques.

The soundtracks feature classically trained musicians Rishii Chowdhury (tabla) and Roopa Panesar (sitar), responding to birdsong, with an additional track featuring a live recording of Rishii performing the tabla in the woods, responding to birdsong. The main inspiration for one of the rifts was the 'Coo Coo Cooo' of the Wood Pigeon and the loud call of the Green Woodpecker. 

A short film has been created to document the process of the project and reveal the various stages of creating the work (see the foyer area show reel).

I would like to thank the following individuals and organisations for their generous support towards this project: Rishii Chowdhury, Bill Newsinger, Geoff Sample, Roopa Panesar, Terry Forryan and Lyndall Phelps, Leicester Print Workshop, LCB Depot, Embrace Arts, Leicester City Council and Dub Studio and Senol printing.
For more information please visit: www.representingbirdsong.wordpress.com or stay in touch via Twitter @lucyjstevens #birdsongtabla. This project was supported by Arts Council England's National Lottery-funded Grants for the arts programme.

Birdsong and music composition by Rishii Chowdhury (tabla) and Roopa Panesar (sitar), 2014

Biebrza Marshes 23.5.2002
Returning from recording aquatic warblers at nightfall one evening I caught the faintest whisper of a pixie party happening somewhere out over the flood meadows. Surely not - an elusive great snipe lek, unknown to the official birding parties scavenging for rarities and spectacles? I approached cautiously to try to get a closer fix on its location - difficult in the vast undifferentiated expanse of low sedges and grasses, and the disappearing light. But it seemed to be in the vicinity of a small patch that appeared whiter in the gloom, maybe a colony of some lighter-coloured plant. I took a trig from some distant silhouetted landmarks and headed back to base over a mile away.

I discussed it with my local contact, who happened to own this land; sure enough this was an unknown lek and yes he was happy for me to have a go at recording it when conditions were good. For a while the wind blew. Then a few days later at the end of a hot afternoon, with the breeze dropping to negligible, I decided to go for it. I headed out a couple of hours before dusk to put the mics in place and got a disheartening shock when I flushed a few of the birds - early arrivals waiting for dusk. And no sign of my white patch. But there was an area with a concentration of dandelion stalks; so just maybe the whiter area had been the seed heads, now blown off in the last few days winds. So I set my mics up there, ran a 100m cable off to a peaty gulley and headed off to the river to wait for twilight.

I wasn’t sure what I’d find when I returned cautiously. Put on the headphones and wow, they were right there. They put on a good show - purely for my ears, as I couldn’t see them. But I was very happy. The mosquitoes were bad that balmy night, but I was well insulated. No blood donations.

Many thanks to Colin Bradshaw for use of his photo.


Great Snipe Lek

Treatment of guitar samples (provided by August Zachrisson) with SuperCollider


Johnny treatment

Noisevember #7

Incrementally processed low pitch throat singing recordings from the same sessions as day 6.

Nodular Cluster

5 Letters Noisevember#9

catbug

Victoria & Jacob's "With No Certainty" helium remix

Noisevember #10 Take Your Shoes Off!

Grabación

XLineto666in2min

Archive of the old SuperCollider group

Music made with the SuperCollider Programming Language

Please post stuff that is more or less pure sc1/2/3 only!
If you can provide code also, it's appreciated.
SuperCollider code sharing e.g. via http://sccode.org. 
More info about SuperCollider at http://supercollider.github.io

Breakmash SC 100114 164951

danscratch

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