Looking for recommendations on music made with SuperCollider


#22

Norah Lorway does wonderful stuff with Supercollider and Tidal.
Here’s her latest…


#23

As far as I’m aware, Jeremy Keenan uses SC a lot, if not exclusively.
Some epic atmospheric feedback mangling in there. I particularly like ‘Zapffe’.


#24

Check out Michael Flora’s stuff:


#25

Nice find! This is a definite buy here. Thanks for posting the link. :ok_hand:t2:


#26

Oh this is cool to see… Norah’s my supervising lecturer at Falmouth Uni.


#27

http://www.yeeking.net/index.php?location=yee-king


#28

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.


#29

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.


#30

Really cool records! Thanks for sharing…


#31

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


#32

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.


#33

wow that song by Reflectives, Scripts by Jeremy Keenan, and Norah Lorway’s song are all quite impressive! :kissing_heart:

just out of curiosity, does anyone know if guys like Ryoji Ikeda, Alva Noto, Mika Vainio(Pan Sonic), Fennesz uses supercollider?


#34

A friend’s recording featuring violin and effects from her and Supercollider from the other half of the duo.


#35

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:

https://web.archive.org/web/20100325200412/http://supercollider.wesleyan.edu:80/conf/index.php/sc3conf/SC09/schedConf/presentations


#36

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.


#37

I’d bet Marcus Schmickler uses/used SC also in that Mego crew.


Norns: ideas
#38

It’s beautiful, @junklight. Really really beautiful.


#39

stumbled upon this last night. not sure if it’s supercollider though, but man it’s so good :astonished::heart_eyes: