Bozipass

This track is from the album Time Remaining and is available for purchase on CD Baby here: http://www.cdbaby.com/cd/illusionofsafety16

Identical Difference by Illusion of Safety

The first in a series of my old MIDI bits from the mid-90s. I'd just purchased my first computer with a whoppin' 4gb SCSI hard drive and a SoundBlaster soundcard so it was optimized for music creation at that time. Then I got a Roland Sound Canvas and it was a whole new world. As sound re-assignable as MIDI files are, these crusty old cheap-sounding tracks do have a certain "computery-music" charm.

Fugueasm

Introduction to Programming for Musicians	

Hello fellow ChucKers, Musicians, and Listeners

You are going to hear music of the November 2013 Finals of the Introduction to Programming for Musicians and Digital Artists eight weeks course introduced by Ajay Kapur of CaLARTS (California Institute of the Arts) delivered as a MOOC format through coursera. 

The  music  you will hear is entirely programmed solely with computers with the use of the miniAudicle (DAW) [1.3.3.0©Ge Wang and Perry Cook] http://chuck.cs.princeton.edu/

All chuck programs (music) were written by student learners on the course. At the end of each week we had to submit our programs to be listened to and evaluated by our peers. 

Through that process I managed to download 749 tunes. Alone on the last, 8th week, they were 430, it took me three full nights, one after the other, to listen to and to evaluate them. When I liked a piece of music or when I was impressed by a composition I kept it. 

I did the course so that I could write my on backing for guitar. But little did I know that this awesome, wonderful and exciting and exhilarating music would fall into my hands.  

So, please let me say my thanks because I feel gratitude towards my fellow peers whose music I appreciate so much. Thank you all, my chucKers!!!  Xoxox

Some technical details: 

You will hear 62 different separate tunes; the music is in mono (sorry!) although mixed down as stereo because I just simply don’t know how to get a chuck file into Cubase. It’s okay for me, though. I’m going to use these sounds as a backing for my guitar playing and at a performance it’s all coming out of a single speaker amplifier, anyway. 

I recorded the chuck music with a looper and then play it into the DAW, making hardly any changes. I only let each piece play twice and overlapped the music where appropriate and adjusted the volume of course, that’s all.   

For chucKers only:  

I had prepared eight written phrases for the evaluation process because I didn’t have the time to think of new, down to the smallest detail, praises or critic. Then for three nights in a row I copied and pasted my way through 430 peers. Each single one of you got all full six marks from me. I was greedy and I wanted as many brilliant tunes as possible. 

After all that, I had 749 tunes. Then the “next” project started by listening to all of my new downloads in peace, without pressure. It started really well, hearing all these brilliant and breathtaking tunes, I was impressed. I marked up over 70 of them as really outstanding exceptional pieces of music. Then on the contrary, after hearing all those out-of-this-world tunes, the others sounded suddenly bland, dull, and even naff* in comparison. 

So, I recorded 62 tunes, in no particular order, on Cubase. Each tune (1 min) is between 1 min 30 sec and 1 min and 54 sec long. I let all of the tunes play twice at the appropriate section and I let each tune blend and morph into another whenever musically possible. Although, there are some exceptions where I mixed two originals to run and play together, for a more interesting and exciting sound. 

There is much more to say of course but for the moment I leave it here   ...  ah yes, my girlfriend said: “Some pieces sound scary but, in all, it’s calming and relaxing.”  

Now to business: 

If YOU like any particular tune as a single unit, I’ll send that one file to YOU for a very small fee (how much do you get paid in your job for 10 min?) 

The next offer is for You as a chucker. When You are interested in one of the programs, I’ll send all the required files for that particular tune. The pricing is the same as above but as You know,  in order to play one tune You need as a minimum at least four written files, some have as many as 15. 

And as You also know, each of the files You can alter and get completely different sounds out of them, without You having to write a completely new one from scratch. If You prefer to sit there and write your own stuff great, then spend, by all means, 4-6 hours for one file that may or may not be a brilliant sound.  

If YOU are like me, having lots of great sounds then pls get in touch with me and maybe we can swap. But if you prefer, I pay YOU for your efforts.  

When YOU recognise your own tune on this recording (album), pls get in touch with me also, that would be a great honour.

joerainer@gmail.com

www.PowerRecall.de

Joe Rainer - YouTube (then click on: videos)


*naff   Adj. 1. Unfashionable. Thought to have originated within the language of Polari. [1960s]
2. Rubbishy, useless, of poor quality, unappealing.

[A dictionary of slang - "N" - English slang.  http://www.peevish.co.uk/slang/n.htm]


British slang, describes something that is stupid, lame or unpalatable. 
That party was naff — they ran out of beer, and the people were way too uptight. 


Today meaning uncool, tacky, unfashionable, worthless... or as a softer expletive, in places where one might use "fuck" as in "naff off", "naff all", "naffing  about". 


Origins of the word are disputed, but it appears to have come from Polari (gay slang), used to dismissively refer to heterosexual people. It was introduced as a less offensive expletive verb ("naff off") in the '70s UK television show, Porridge. "Naff off!" was famously used by Princess Anne in 1982. 

Naff the naffing naffers. 

[Urban Dictionary, August 17: nose brunch http://www.urbandictionary.com/define.php?term=naff]



ChuckFinals

Here's a piece I made for a computer based composition module at uni. I sampled a firework display I saw and wanted to make a piece using mainly these samples. I wanted it to be a very percussive and rhythmical track, so only used about 4 melodic instruments that aren't samples I've made myself. Also include a drum beat that I recorded myself too in there, hope you enjoy it!

November Nights

A minute of music my computer composed in the background as I was trying to diagnose a bug in my Turing Test real-time notation generating programme.

I like it a lot and might use it as the basis for a piece. I particularly like the fact that its creation was totally unintentional, with no massaging of desired pitches... This is exactly as it came out, except that I brought it into Sibelius and expanded to a unison piano quintet orchestration. 

What My Computer Composed Today

Computer composition of It Ain't Right originally by Jess Glynne. Vocals by Daisy Newman. First home recording in 4 years, getting back into this music thing! Enjoy! :D

It Ain't Right: Originally by Jess Glynne - Home Recording

Audible Illustration based upon improvisation.

Proud & Disnefied

Sorry, still having to pretend I can make music but here is 5 tracks that make up 20 minutes of collaborated music that was submitted for my last Computer Music Module.

Getting there though i think.

When the course is up, will be sure to work on advancing them but for now... hope you can enjoy someway or another.

Xav's - Computer Music Portfolio

Electroacoustic composition, "music for tape" , writen in the Studio for Computer Composition in the Academy of  Music in Wroclaw, Poland. The composition is build on the base of prerecorded and processed sounds prodused by water.

Water - Stereo version (Quadraphonic originally)/2008/

Original music for your visual project. All material available for placement, This is just a sample of available content.

daniel james burke solo material, specific projects, collaborations, experiments in music, synthesis, piano, guitar, and all sound forms

Sound Engineer trying to work himself into creation through the sonic canvas

Irish composer/violist/director of Kirkos Ensemble

Feel free to email sebastian(dot)adams(at)hotmail(dot)com if you are interested in scores or parts!

Sebastian Adams (b. 1991) is an Irish composer, violist and artistic director. His music is deeply engaged with the classical tradition, but filters through a range of interests including just intonation, performance art, improvisation and artificial intelligence. Trajectory is a major preoccupation in his music. 

Performers of his music include Crash Ensemble, Kirkos, Benyounes Quartet, Fidelio Trio, Sarah Watts, Beatrice Berrut, Carl Ludwig Hübsch, David Adams, Lina Andonovska, and many others. His music has been included at the West Cork Chamber Music Festival, Festival EuropArt (Brussels), Órtús Festival and Hilltown Festival and has been performed in Montreal, Vienna, Cologne, Potsdam, Antwerp and Görlitz. 

Sebastian founded and directs Kirkos and co-directs the Fishamble Sinfonia. He also chaired the Irish Composers Collective for two years. As a violist, Sebastian has premiered works by many of Ireland’s leading composers and performed as an improviser in Dublin, New York and London. He studied in Dublin (Kevin O’Connell & Jonathan Nangle) and Vienna (Karlheinz Essl).

Composer, Sound Designer, Performer, Music Educator based in Sofia, BG. 
Contact/Bookings: www.vladimirvlaev.com.

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