Restrictions: Only the soundin opcode + filters

Csound Etude 2

A piece made entirely with Csound using the ACToolbox. A Phase Vocoder and FM synthesis are the main ingredients. No effects what so ever added to the material.

Sliding Crates

An etude on generative music with SuperCollider.  All sounds and sequences produced from code using randomized synthesis only. No edits, effects or manipulations after the code was compiled. 

The goal was to create a dynamic system that is different every time is played.

SuperCollider Etude 1 (Generative Music)

An Etude on stochastic transformations using SuperCollider. The whole sound palette was produced from simple granular synthesis of a sine wave and 1 sample only, where the main transformations are:

1. A sequenced Ring Modulator 
2. An FFT freezer
3. An FFT bin shifter
4. A buffer scanner

No further effects or manipulations after the code was compiled.

SuperCollider Etude 2 (stochastic transformations)

Improvisation with a bunch of code mapped to my MIDI controller and played/recorded from there. No further manipulations or effects added to the resulting material. The main ingredients are:

- Bin shifting
- Buffer Manipulations
- Ring Modulation


SuperCollider Etude 3 (Improvisation)

A micro-sonic composition made entirely with SuperCollider. The piece's form is a triptych plus a coda, aiming for a polyphonic and counterpunctual construction with purely synthetic sounds.

Extrusion

A micro-sonic composition made with the SuperCollider programming environment. The piece takes the concept of "swarms" into the sound domain. The behavior of these swarms is stochastically controlled and it's sonic qualities are derived from FM synthesis. The peak points of density were modeled with comb filters. Dedicated to J. Chowning & C. Roads.

Aleatory Swarm (stereo version)

The sound design for a short animation (3 miniatures) I recently made. Watch the video here: https://vimeo.com/113418333

Alembic (Sound Design)

Debris [0]

Original version: 4 channels

Debris[0] is the first of a series of pieces focused on micro-sonic transformations of purely synthetic sources, a progression from grains to noise and back.

It was inspired by the installation Frequencies (Light Quanta) by Nicolas Bernier.

This piece was premiered at the New York City Electroacoustic Music Festival 2015


Debris[0] //granite  (stereo version)

Debris[1] //dialectics is the second of a series of pieces focused on micro-sonic transformations of purely synthetic sources. States of intense motion alternate with states of ease.

This piece was originally composed for 4 channels. Premiered at the Next_Generation_Festival 6.0 at ZKM, Karlsruhe, Germany - 2015

Debris[1] //dialectics (stereo version)

Debris[2] //Volatility is the third and last of a series of pieces focused on micro sonic transformations of purely synthetic sources. Aural states are confronted, diffused and merged.

Debris[2] //volatility (stereo version)

Live performance of "Six Consecutive Moments", for piano, percussion and electronics, in The Royal Conservatory of The Hague, The Netherlands by Gerard Bouwhuis and Wen Hsin Chen. The piece was written in 2012 by Darien Brito.

Six consecutive moments, live performance, Den Haag

They say Ulysses, wearied of wonders, 
wept with love on seeing Ithaca, 
humble and green. Art is that Ithaca,
a green eternity, not wonders.

J.L. Borges

A green eternity, not wonders.

Coleoptera is a sound-design/glitchcore track inspired by sounds of insects & shooter game music. 

for a mastered version go to:

http://entity.be/entity/

Coleoptera (unmastered)

“In the context of language, self-reference is used to denote a statement that refers to itself or its own referent. The most famous example of a self-referential sentence is the liar sentence: “This sentence is not true.” Self-reference is often used in a broader context as well. For instance, a picture could be considered self-referential if it contains a copy of itself; and a piece of literature could be considered self-referential if it includes a reference to the work itself. In philosophy, self-reference is primarily studied in the context of language. Self-reference within language is not only a subject of philosophy, but also a field of individual interest in mathematics and computer science, in particular in relation to the foundations of these sciences.”


Darien Brito

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