@user-415052089: thnak you ! Actually, I'm well aware of Transistow. Thing is, as much as possible, I try to use crossplatform plugins. Do you use it ? I've read numerous times it's an amazing synth.

You should do a writeup and explanation on how you did this with Tidal, super interested. Found this from the Tidal Club link. Cheers

The track "Grêle" is featured on RESIST : Ukraine Charity Compilation.

Donating all proceeds to: 
https://www.dec.org.uk/appeal/ukraine-humanitarian-appeal 

Featuring over 70 artists from across the world, each track is a mere 90-seconds. Within these compact forays is intensive raw emotion varying in form - an eclectic delivery of Ambient / Braindance / Experimental & IDM sounds.

Bandcamp Link: 
https://braindancenews.bandcamp.com/album/resist

Grêle

Hi, I'm happy to announce the release of my new album ' Pavages' on the french imprint La république des granges.

This material was made during last winter, plyaing with various rhythmic canon rules.

Tape : 100 copies

https://www.larepubliquedesgranges.org/nebulo/

PAVAGES J

Taken from the album 'Infinite Window', released 29 July 2022 on Brainfeeder: https://kuedo.lnk.to/infinite-windowSo

Follow Kuedo -
Spotify: https://found.ee/kuedo-sp
Apple Music: https://found.ee/kuedo-am
Bandcamp: https://found.ee/kuedo-bc
Soundcloud: https://found.ee/kuedo-sc
Youtube: https://found.ee/kuedo-yt
Instagram: https://found.ee/kuedo-ig
Facebook: https://found.ee/kuedo-fb
Twitter: https://found.ee/kuedo-tw

Sliding Through Our Fingers

In 2020 the first release in guides, a new publishing initiative set up by outlines owner Pawel "Paide" Dunajko, was released. guides is intended to be a label less burdened by formal requirements but - like outlines - still trying to present the most interesting and innovative music at 160 bpm.
 
The second tape in the guides catalogue is the result of a collaboration with Japanese producer otomoni. The Tokyo-based sound artist owns the Minzoku Tapes label, where his original productions have mainly been released.

otomoni's "super u" tape consists of nine tracks for which Chicago footwork is the starting point. However, the Japanese producer creates his own individual version of this genre, using such compositional techniques as sound design, field recording and musique concrete. otomoni's sound palette is extremely rich and characterised by a multitude of details. The rhythmic layer is non-obvious, driven by a microcosm of sound particles and melodies.
 
The very beginning of the release ("mizurizu") presents before us evocative images of some undiscovered anime world, in which a delicate impressionistic narrative merges in the finale with noise blurring details. "hanoi" relieves this moment of tension with a melodic intro that, after a while, launches into a footwork groove. "kenka" is a sweet miniature with echoes of reggaeton rhythm. Finishing the A side of the cassette "misago" is a futuristic minimal footwork set on an ear-piercing synthetic sound, around which surprising noises are lit up.

In the opening B-side title track "super u" otomoni continues to create his sound world. It's transformed vocal samples, expressive and juicy rhythmics, on the background of which unexpectedly appears the sour sound of Roland's 303. "ooree" takes the listener to a different, but equally surprising corner of otomoni's world full of plasticity and colours. In "amenoi" the listener lands in the middle of a jungle of sounds creating an unreal scaffolding for an alternative reality. From its very beginning "mikudro" fits into the narration started in "amenoi", but it tries to burst this created structure with a vibrating stroboscope of sounds. Seemingly chaotic percussions create a new physics of music. The album's closing "akumu" begins with a vast looped drone, against which ritual simple vocalizations are sung. After a while the drone and the voice are joined by other sounds of a new world coming to life.

otomoni's music has an extraordinary gift for illustrating alternative realities. However, this does not happen with a flourish, pathos or overload of meanings. The sounds he uses are characterised by subtlety and minimalism of expression. It is an autonomous and living world. Footwork in its basic form is a musical genre which is supposed to accompany the movements of dancers competing with each other. otomoni's Footwork is music detached from this tradition, but using the components of this genre to create a completely new reality.

super u

otomoni - super u

We return with a new installment of our cd series dedicated to the latest electronic experimentation.
This time we have the pleasure of having Synalegg who has given us an album full of complex rhythms and melodies.

In the artist's own words:
This album can be considered as the last part of an algorithmic trilogy that I started with Computer Series and then Violynt Tropiqs.
The first one was purely computational, the second one was a reconciliation. hArm0nii tanD3m is a collection of remixed computational proposals.
A collaborative tandem with the computer in the lead to execute the program and my intervention afterwards to exploit and remix the captured combinations, ideas, moments.
Sometimes the computer's contribution is the majority (lytUrgii, dytt0, sErp3Ntine), sometimes the scenario and the staging of the captured elements becomes the backbone of the tracks (sisYph3, wat3rl0oh, uBba).
This attempt at re-appropriation was a way for me to create another music that finds its essence in computer otherness.

This wonderful album will surprise you with the variety of new concepts that Synalegg introduces.
I hope you enjoy the trip as much as we have enjoyed the production.

Synalegg - Dytt0

releases July 8th, 2022

threeop.bandcamp.com/music

Written and produced by Deli Kuvveti
Mastering by Nil Hartman
Artwork by Andrew Bates

Deli Kuvveti - Erato (3OP009)

What we have here is an excerpt of a four hour live performance by Atom™ and Peter Van Hoesen under their joint SYNC. alias.

This unique project focuses on live techno improvisation and performance. A SYNC. show can run anywhere between four and eight hours, depending on the setup and the occasion. The core of the performance is a musical dialogue between both artists, their machines and the audience. 

This performance was presented at C12, Brussels on May 14th 2022. 

For info on bookings please contact Octopus Agents - www.octopus-agents.com

SYNC. Live at C12, May 14 2022

Nicolas Bougaïeff - Live at MUTEK 2022

releases October 28th, 2022.

https://threeop.bandcamp.com/music

Written and produced by Amédée de Murcia
Mastering by Nil hartman. 
Artwork by Théophile Blandet, picture by Ronald Smits.

Somaticae - Présent Perpétuel (3OP010)

releases January 20, 2023

threeop.bandcamp.com/music

Written & recorded at cross shores 2020-2022 by tsrono.
Mastering by Nil Hartman. 
Artwork by Andrew Bates

tsrono - vale (3OP011)

24/02/2019, raw live-coding jam using TidalCycles.
Synths : AudioSpilage DrumSpillage 2 & u-he Bazille.

---
28/04/2020 :

Sharing knowledge is part of Tidal's DNA, so here's my humble contribution to a wonderful, super-generous community. Hopefully I've leveled up my coding chops since then hehe, but still it might be of interest to my fellow live-coders.

The "artwork" is a screenshot of the actual code, and as you can see it's quite simple.

d1 = drums (synthesized with AudioSpillage DrumSpillage 2) and d2 for the whole melody (u-he Bazille doing its FM wizardry into loads of reverb). 

Tidal is the most inspiring MIDI sequencer IMO, and Ableton Live is here used as a fantastic, deluxe plugin hub / audio recorder & mixer (and that’s pretty much my current set-up). 

The melody is the sum of super simple motifs, and its structure is reminiscent of a drum beat : the first part of the cycle (the altered euclidian pattern "[-23(3,8?)]" (n "-23’" = a low C#)) could totally work for a bass drum, its second part for a snare, and the last bit for a hi-hat. 

Give that block of code a try :

do
  setcps (160/60/4)
  d1 $
    s "[bd:1(3,8?) , [~ cp]*4? , hh*16?]"

... and you'll have a nicely syncopated footworkish groove going. 

? being a shortcut for "degradeBy 0.5", it injects a very nice dose of probability to the whole cycle, so that a pattern can evolve without too obvious repetition, and with very minimal code. 

Using commas (in the context of a cycle) in-between its subdivisions is here akin to using "stack" (if you’re yet to familiarize yourself with mini-notation, believe me it’s totally worth the effort), to layer these motifs together.  

''cat'' was used to chain variations of that first cycle, and as far as I remember, it was pretty much a « copy / paste / modify until it sounds good… rinse and repeat » process hehe. I’d do it differently today, in a less verbose way (using mini-notation), but it works ;)  

Now, I’ve quickly become a huge fan of the collision of various very simple functions (degradeBy, rev, slow etc…), conditioned by "every" so that they come and go as musically as possible. Pretty much a trial and error driven process. I believe that the combo of all this functions and ? works wonders here, creating this very organic, generative yet musically controlled feel.

I can’t remember what the midi CC (d8) was for. Nothing too complicated it seems :)  Once I had all my melodies and beats, I grouped them as logically as possible using ‘’do’’ blocks, and triggered each block on the fly to build my arrangement.  

Cheers !

240219 TidalAcid#2 (Live)

Nil Hartman

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