Oh this is cool to see… Norah’s my supervising lecturer at Falmouth Uni.
Bit late on this one but this was posted by @Ali_Rasulovitch in the first few months of my being on lines, and I still listen to it quite often. So inspiring in terms of what sc is capable of. There’s a nice discussion of the process here as well.
Was that tape made on SC though? I know he’s working with it more now, but the transition on when his material went from PD to SC is a bit fuzzy. Curious now.
Really cool records! Thanks for sharing…
idk. i just assumed since every time i’ve played with him in the last couple years it’s been pure SC and sounded pretty similar
Cool, well, it’s been a few years since I met him and he was in the PD zone. Not sure when he made the transition. Not doubting, just was curious about the break point in his work.
wow that song by Reflectives, Scripts by Jeremy Keenan, and Norah Lorway’s song are all quite impressive!
just out of curiosity, does anyone know if guys like Ryoji Ikeda, Alva Noto, Mika Vainio(Pan Sonic), Fennesz uses supercollider?
A friend’s recording featuring violin and effects from her and Supercollider from the other half of the duo.
Marije Baalman has been doing really interesting stuff in the realm of live-coding for a long time:
I saw her perform at the Supercollider symposium at Wesleyan in 2009 using every possible input from her laptop during the performance as a data stream for reprocessing. As she describes it:
I’m exploring this concept for livecoding further now, using livecoding to manipulate the sound of livecoding with the sideeffects of livecoding. Turning the laptop into a sensitive machine, whose senses can be mapped to manipulate the sounds it makes itself, while this manipulation itself affects the laptop’s senses.
Sam Pluta’s performance was another highlight for me – here’s the full list of performances and presenters from the conference:
I don’t think any of those people used supercollider… maybe Ikeda, don’t know what he uses. Fennesz has always used lloopp/ppooll.
But there were definitely lots of SC patches circulating amongst the extended Mego crowd circa early 2000s: early PITA, Florian Hecker, Farmers Manual, and Kevin Drumm were all using SC patches amongst other things. Tho most of those guys weren’t doing their own code. And I think only Hecker and maybe Farmers Manual have stuck with SC as the main tool.
I’d bet Marcus Schmickler uses/used SC also in that Mego crew.
It’s beautiful, @junklight. Really really beautiful.
stumbled upon this last night. not sure if it’s supercollider though, but man it’s so good
Some more here:
- early Peter Rehberg/Pita https://pitaemego.bandcamp.com/album/get-down
- most Florian Hecker
- Mileece https://lorecordings.bandcamp.com/album/formations-lo30
- caterina barbieri https://www.ableton.com/en/blog/caterina-barbieri-minimalism-modular-and-live/
hold up… …really?
Just quoting the interview above
I work a lot with SuperCollider to find interesting ways of generating new music material in alternative tunings for example
gotcha. i guess non of that has been released
not a polished professional, but I work exclusively in supercollider - both improvisational and structured pieces
this is all SC (+ light mastering in a regular old DAW)
I hope crossposting is alright!?