"Noodles" are, in the vernacular of the electronic musician, synthesizer configurations (patches) that automatically create music, usually of an abstract nature. 

Emile Tobenfeld (Dr. T) is generally recognized as the inventor of the MIDI sequencer. His Keyboard Controlled Sequencer, a music composition system for the Commodore 64, was groundbreaking in many ways that took other software artists years to equal. Further instruments broke new ground in computer-aided composition, sound design and interactive music systems. I was privileged to work with him during these times, both in documenting his instruments and coding my own, and he served as my mentor in many ways. 

These noodles are implemented on a single Nord Modular G2 synthesizer, which digitally recreates a literal roomful of old-style analog modular synthesizers.

Sunrise On Epsilon Eridani IV

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Africaine#Chanson background music for video no copyright 👃FREE DOWNLOAD

A track compiled/edited from a live coded and improvised session with the Mercury environment.

Reflect

Nature's Got Talent

After you experience the musical talent of any given plant you begin to understand how Vegetarians are the real Murderers, far worse than the worst meat eaters and their occasional green salad. What cow plays the piano? Bueno, my amaranto plant certainly does.

Amaranth plant auditioned on April 2, 2023 in Zimatlán, Oaxaca, 
with a Biodata Sonification system, capable of reading microfluctuations in conductivity across the surface of a plant's leaf and translating those changes into MIDI notes to which a human mediator assigns acoustic musical instrument samples and analog synthesizer patches modulated for your musical enjoyment. 

for more info contact us at www.seyfert.com 

file: Amaran - Bueno20min MIX1

Derecho a la Alegría - amaranto jazz

My residency at Künstler*dorf Schöppingen has been full of discoveries—both internal and external—and I truly feel I have met people and encountered ideas that will carry me for years to come. It began with artist presentations by Imane Zoubai and Sohorab Rabbey, both of which struck me like lightning. One of Imane’s slides featured her drawings. On a piece of weaving-pattern grid paper, she had meticulously drawn dots, and the way these dots formed grouping patterns created a sense of rhythm. Indeed, as Imane explained, her work is inextricably tied to the notion of music—a connection I, as a musician, deeply resonate with.

Imane also served us tea on several occasions, in the traditional Moroccan way. Sweetened green tea with mint, poured from a metal pot into glasses from a distance—creating foam on the surface of the tea—was always refreshing and calming. She explained that the foam helps protect the tea from desert sand.

My piece Tea Ceremony with Grains is a synthesis of these experiences. I studied Imane’s drawing closely and reinterpreted the patterns to create a score—something akin to the piano rolls used in player pianos. The information in the score triggers various aspects of a water-like soundscape. Part of it is a recording of Imane pouring tea from a distance into a glass; another part is digitally and artificially generated. To imitate the sound of tea being poured, the piece gradually transitions from one chord to another—a process that at times manifests as a change in brightness, and at other times as a perceivable harmonic shift.

I dedicate this electronic work to Imane Zoubai and to all the fellows and staff members I have come to know during my time at Künstler*dorf Schöppingen. I look forward to creating many more pieces like this in collaboration with the wonderful people I have met—even if we are far apart.


Tea Ceremony with Grains (Homage to Imane Zoubai)

Paroles de Sidnerus Jeperera
Montage audio sur suno
Youtube : https://youtu.be/7TEQmU2DGTs

Le Repère des Enfants Perdus

Dr Bob MacCallum from Imperial College London describes the DarwinTunes experiment and its results delivered in classic Open University style.

DarwinTunes - evolution of music commentary

variable tempo ambient composition in vcv rack. Uses NYSTHI SQUONK sequencer through ML Evolution sequencer modulator as the primary content generator. The multiple sequences are then quantized to a permutation of cmaj and sent out to several sample and hold modules triggering at various clock divisions (prime numbers and Fibonacci sequence numbers) which trigger various voices that are varied rhythmically. The voices are all amplitude modulated by an Lfo that outputs 8 phase modulated copies that are then sent to control their amplitude in the mixer. This is all sent directly into a reverb that creates a majority of the sound. 
Real-time manipulation includes the introduction and removal of signals into the global matrix as well as spontaneous reconfiguration of networks in order to maximize flow. 

Created in vcv rack, patch available upon request.

Drenched in Reverb

non-edited recording of my sound installation 'Eternal Darkness' (http://www.roberthenke.com/installations/eternal_darkness.html). The reverb on the recording is the actual sound of the room. The pipe-like noisy  sounds are generated using physical modeling techniques, and the composition is algorithmic and does never repeat. So this recording is just an excerpt of an infinitely long process. At the beginning of the recording I walked out of the water reservoir and turned on the MaxMSP patch that starts the beast.

Eternal Darkness Installation

"Entre l’Absurde et le Mystère" (a.k.a. "Entre o Absurdo e o Mistério") is a piece for chamber orchestra composed with a piece of software of my own design, which generates music from Cellular Automata. I used an automaton known as Game of Life, which simulates the behaviour of simple living beings by means of rules for the birth, death and survival of life forms. My software, CAMUS, translates Cellular Automata behaviour into music. 

This piece was premiered in Edinburgh, in 1995, by The Chamber Group of Scotland, conducted by Martyn Brabbins.

More information about my software CAMUS can be found in my book "Composing Music with Computers", published by Focal Press, 2001.

Entre l'absurde et le mystere - for chamber orchestra

celebrating the world's best psychedelic films by crossing the frontiers of knowledge  /  festival de cine psicodélico.
Enjoy #plantmusic by @steinguey

Yoshiaki Onishi is a Japanese-American composer, conductor, and clarinetist. As a composer, he is interested in exploring a wide range of instrumental timbres and finding ways to incorporate them in musical syntaxes and forms that disrupt the sense of expectation. He has worked on commissions that have come from such festivals and organizations as Klangwerkstatt Berlin, Philharmonie Luxembourg, Takefu International Music Festival, and Gaudeamus Muziekweek, and his music has been performed by ensembles worldwide, including New Japan Philharmonic, Asko|Schönberg Ensemble, Klangforum Wien, Nieuw Ensemble, Distractfold Ensemble, Ensemble Intercontemporain, Quatuor Diotima and JACK Quartet. He is the recipient of the 2018 Guggenheim Fellowship, the 2018 Fromm Commission, and the Gaudeamus Prize 2011. Edition Gravis in Berlin, Germany publishes his music. As a conductor deeply engaged in promoting the music of today, he is Co-Director for the Mizzou New Music Ensemble and was one of the founding members of Ensemble Exophonie Tokyo. Other ensembles he has worked with as a conductor include Nieuw Ensemble of Amsterdam, ECCE Ensemble, Wet Ink Ensemble, Columbia University Orchestra and the University Philharmonic Orchestra of the University of Missouri. Increasingly active as a clarinetist and improviser, he has collaborated with composers George Lewis, Carolina Heredia, Oswald Huỳnh, Bret Bohman, and Andrew Crossley. Together with Santiago Beis, he plays in the Onishi-Beis Duo, an electroacoustic improvisation duo. Onishi received his doctorate in music composition from Columbia University in 2015. He is currently Assistant Professor of Music Composition at the University of Delaware School of Music. 

Profile Photo © 2015 by Stefaren.

I am an electronic music producer, primarily making psychedelic trance, however experimenting with many moods and sounds.

My repertoire includes music for symphonic orchestras, chamber groups, solo instruments - with and without live electronics - and electroacoustic music.

Here in SoundCloud is a sample of representative pieces from my diverse repertoire, illustrating various stages of my career. Diversity is an important word in my dictionary. I am interested in melting barriers, and mixing and re-mixing musical influences. In addition to concert music, I have composed for theatre and contemporary dance. 

Recently, I was composer-in-residence at the Science Museum, London, working with Lottolab Studio. Previous residencies include: CCMIX (Centre de Création Musicale Iannis Xenakis, Paris, France), IMEB (Institut International de Musique Electroacoustique de Bourges, France), Fundació Phonos (Barcelona, Spain) and Luciano Berio's Centro Tempo Reale (Florence, Italy).

http://neuromusic.soc.plymouth.ac.uk/

A Vimeo channel with a few videos of concerts is also available:

https://vimeo.com/channels/miranda

Bob is a human who loves music and has been doing live mixes on a lockdown radio station he set up with friends. Most are on Mixcloud (https://www.mixcloud.com/Glastonauts_Live/) but he'll start putting them here too.

DarwinTunes (2009-2016) was an experiment to see what kind of music we get as a result of evolution by natural selection applied to a computer-generated four bar loop.  The "synth patches" are evolved also - using additive synthesis (just sine waves).  The only human input was the choice of tempo, time signature, effects rack and few other minor things.

code and sound alchemist | algorithmic music composition with software

Popular tracks tagged #algorithmic composition