oddcore

cool

bye bye dopamine

yes.

https://www.youtube.com/watch?v=B8iZiqTwofo - video

Auf Wiedersehen

le long des rails

The latest root of sine collection demonstrates a clutch of talented artists exploring the way of the sine. Employing diverse techniques such as the glitch melodics of Michael Santos to the chaos patterns of Johan Zwart the results are compelling.

+ local [michael santos]
+ remembered root of sines [celibacy club]
+ the queen of brooklyn [bluermutt]
+ just intonation [henry walmsley]
+ spine theft [stheft]
+ sinebulb 2 [unknown artist]
+ sinebulb 3 [unknown artist]
+ sinebulb 4 [unknown artist]
+ a sign in grain [johan zwart]

Root of Sine - Volume 4 is available from the PROJECT page of
http://www.audiobulb.com

just intonation [henry walmsley]

This track was written to demonstrate the harmonic possibilities of using higher harmonics freely whenever the composer wishes, without the bounds of a traditional scale, but within the bounds of major/minor/seventh harmony. It is also quite funky!

Harmonics of 11ths, 13th, 23rds etc are prominent in this composition, without being overwhelming in their unusualness. The highest prime harmonic used was the 127th harmonic in the final melody! E#''' was also used (125th harmonic)

It was written using a new notation system which has been devised to make accessing higher harmonics as intuitive as possible (it still takes a bit of getting one's head around!). Please contact me if you would like to see the score written in this notation system, or for details about how this notation system enables interesting harmonic composition outside of the bounds of the Western 12-note scale to be realised.

It qualifies for chiptune since although it is (much to my shame) 16-bit 44100Hz audio instead of the pure 8-bit, the sounds were synthesised from scratch using modified sin/saw waves, with a bit of band-limited noise thrown in for good measure. The synth took as input CSV 6xN matrices as sequence files, and processed in Octave/MATLAB to give MP3 output which you hear here.
---------
update 10th Apr 2015:

Here is a brief description of how the MP3 track was generated:

Just Intonation Notes (1/1 4/3 7/4 etc) <-> New Notation System (C F `Bb~7 etc) which is easier to read than pure numbers and where the letter corresponds (roughly) to the position in the 12ET scale
-> Excel block of chords and melody notes for visual presentation to composer (.txt)
-> Excel long (~1700 columns) of calculated note letters, frequencies, note lengths, etc
-> Excel final sequence file with 6 columns: channel, start time, frequency, note length, loudness, stereo position (.csv)
-> Octave/MATLAB code to take the 6 columns and turn them into chiptune (.mp3 or .wav)
-> Sometimes extra post processing in Audacity for final .wav

------------------------

See also:
- https://arxiv.org/a/ryan_d_1 (arXiv) for a list of my academic paper pre-prints, including my writing on music theory and Just Intonation
- http://orcid.org/0000-0002-4785-9766 (ORC ID) for my academic profile
- https://www.linkedin.com/in/davidryan59 for my LinkedIn profile

Sonata 1 'Cheery' - Chip Synth, Justly Intoned

This is a justly intoned arrangement of J. S. Bach's Prelude in C Major, the first Prelude of the 48 Preludes and Fugues, a body of work by Bach which demonstrated that with tempered tunings every major and minor key was usable.

As well as being one of my favourite pieces of music, I thought it would be worthwhile to demonstrate that this music sounds just as interesting (maybe more interesting!) in Just Intonation (JI), where exclusively rationally-spaced intervals are used. JI is the natural way of tuning intervals. It derived from harmonic series, which are produced by string and wind instruments.

Due to the 'wrap-around' nature of tempered tunings, some transitions (e.g. D minor to G major) are good transitions in tempered tunings, but sound 'further away' or less harmonious in JI. Also, transitions from ,D' to `D (10/9 to 9/8) and from C to `C~7 (1/1 to 63/64) are noticeably microtonal shifts. Some people might like them, some might not. Personally, I like them. The major advantage is the purity of all the triads and seventh chords, which in my opinion outweigh the 'disadvantages' of having noticeable microtonality.

As always, I've slipped in an 11th and 13th harmonic (the 11th is obvious, the 13th less so). I refuse to write any new music which does not contain both 11th and 13th harmonics.

Another interesting feature was Bach's usage of diminished chords. My favourite justly intoned diminished chord is the sequence 10:12:14:17:20:24:28:34:40 etc. Hence, some 17th harmonics have been used, wherever there is a diminished chord, in both 17/1 and 1/17 formats (and 5/17).

Hence, this track contains all the harmonics 2, 3, 5, 7, 11, 13 and 17. I will attempt to remedy the lack of 19, 23, ..., 127th harmonics in my next upload.

Enjoy!

Dave

------------------------

Bach number of this track: BWV846 or BWV 846

See also:
- https://arxiv.org/a/ryan_d_1 (arXiv) for a list of my academic paper pre-prints, including my writing on music theory and Just Intonation
- http://orcid.org/0000-0002-4785-9766 (ORC ID) for my academic profile
- https://www.linkedin.com/in/davidryan59 for my LinkedIn profile

Bach BWV846 Prelude in C major - Chip Synth, Justly Intoned

This is a justly intoned arrangement of Chopin's Etude in C Major (Opus 10, No. 1), the first Etude of his series of Etudes which demonstrated his new piano performance techniques.

Although Etudes are usually technical exercises, Chopin's are special since they are immensely listenable with intricate harmonies.

I have retuned Chopin's harmony to have much more than 12 notes to the scale. More to come (hopefully soon!) about the notes which have been used. Concisely, the major and minor triads and sevenths have almost everywhere been preserved, and Chopin's use of sequences leads the harmony down very interesting and long paths in the 7-limit tonal lattice. A couple of jarring transitions are where the harmony jumps up by a syntonic comma (or 7-limit comma). As always, 11th and 13th harmonics are smuggled in, in some of the diminished chords near the end.

Enjoy!

Dave

------------------------

See also:
- https://arxiv.org/a/ryan_d_1 (arXiv) for a list of my academic paper pre-prints, including my writing on music theory and Just Intonation
- http://orcid.org/0000-0002-4785-9766 (ORC ID) for my academic profile
- https://www.linkedin.com/in/davidryan59 for my LinkedIn profile

Chopin Etude in C Major - Op. 10, No. 1 - Chip Synth, Justly Intoned

Jun Togawa - Suki Suki Daisuki

pythagorean tuning vs. just intonation. c5 scale

First computer to sing - Daisy Bell

Character theme for my character Elliot!! He's a sad vampire.

edit 2022/05/31:
This is an original song, I don't know how it has so many views but it's just a song I made. It's not part of any game or anything. Thanks for listening to my song even 5 years after it's release. You guys are awesome!! ; _ ; )

Risk-Taking Nobody

Pain

L'amour sous un tilleuil

Ma-ia-hii 
Ma-ia-huu
Ma-ia-hoo
Ma-ia-haa

Allo, salut, c'est moi, un hors-la-loi
Et je t'en prie, mon amour, sois heureuse
Allo, allo, c'est moi Picasso
Je t'ai bippé, et je suis ton héros
Mais sache que je ne te demande rien

Refrain :
Tu veux t'en aller mais tu ne, tu ne m'emmènes pas
Tu ne, tu ne m'emmènes pas
Tu ne, tu ne, tu ne m'emmènes pas
Ton visage et l'amour sous un tilleul
Me rappellent tes yeux
(x2) 

Je t'appelle, pour te dire, ce que je ressens maintenant
Allo, mon amour, c'est moi, ton bonheur
Allo, allo, c'est encore moi, Picasso
Je t'ai bippé, et je suis ton héros
Mais sache que je ne te demande rien

Refrain

Ma-ia-hii 
Ma-ia-huu
Ma-ia-hoo
Ma-ia-haa
(x4) 

Refrain x2

Pour Toi (Dragostea Din Tei Cover)

i love you more each time you die

Ramune - Puppycat

40 minute compilation tape / songs performed by synthetic voices.
Tape released in december 2017, 50 ex, Dautzenberg Press

PROGRAM 1

1. Daisy Bell / IBM 7094, 1961
2. California Dreaming / 386 DX, 1998
3. 1983 TI99 telling his story / Nesmaniac, 2015
4. Alla Talar Med Varandra / The unreal group, 2008
5. A whole new world / DECTalk, 2014
6. Konayuki / Yamaha Vocaloid, 2009
7. Рок-н-ролл мертв / 386 DX, 1998
8. Auto Confessional 3 / Jon Cambeul, 2007
9. White Christmas / DECTalk, 2015

PROGRAM 2

1. Donald Sherman orders a pizza using a talking  
   computer, 1974
2. Pizzazaza / Google Translation, 2016
3. I got rithem / DECTalk, 2015
4. Tobe2 / Jdefeu ft. Melobytes, 2017
5. Work / Ruby ft. Fukase, 2016
6. Lose Yourself / MC Hawking, 2009
7. Tous les garçons et les filles / byBibo, 2013
8. I will always love you / DECTalk, 2014
9. O Superman / Mr. Hopkinson’s computer, 2012

Program 1

sample-based song I made circa 2015. If you came here from Apselene, tell them Doni says "Thank you Jota"!!

Sunshine Inc.

Nero's Day At Disneyland - 10 - Eulogy For Nick Galvas

have you ever just cried because you’re you?

SOUNDCLOUD DOES NOT PAY ME FOR MY STREAMS
PLEASE CONSIDER SUPPORTING ME THROUGH BANDCAMP OR PATREON

https://sewerslvt.bandcamp.com/album/irly-ep

DOWNLOAD

Kawaii Razor Blades

IRLY - EP

Dysphoria

A deep dive (hehe) into the depths of my hard drive. I fished (LOL) out some cool ravey little gems that have laid dormant for the last year or two. I reeled in (xD) the mixes and made them nice n bumpin' for ya. I hope this helps transport yall somewhere special and phantastical while were all trapped inside our homes atm....

You can purchase the EP here (https://machinegirl.bandcamp.com/album/reporpoised-phantasies) or sign up for my patreon (www.patreon.com/machin3gir1) and get the EP along with exclusive Patreon music

RePorpoised Phantasies

Cyan Hardcore

Composé et enregistré en mars et avril 2020
à l’occasion du Marathon de la Semaine
(compétition musicale à thèmes en ligne
11 thèmes --> 11 morceaux) // Rennes

01 Des Choses Constructives_thème : Attraction

Latest tape FROM COMPUTER WITH LOVE VOL.5 was out in 2023

It is fully sold out, but you can still download it on our bandcamp, as the rest of the FCWL tapes.

https://dautzenbergpress.bandcamp.com/

Program 1

dautzenberg press