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Dear Diary, today I accomplished the wrong things.

day 20

Thinking about: Rachmaninoff Vespers, Afro-cuban grooves, Tanpura Drones

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Today I learned that Tesla has an outdated fork of LMMS... yes, LMMS, the music production software.

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hello, i'm rozina (you probably know me from, and i'm an artist, a creative coder, and experimental electronic musician (as well as being many other things). i decided to join this instance because i like the small close knit community feel that this instance has. i believe that technology should center around sustainability and longetivity (as well as being a firm believer of the right to repair, and using foss tools wherever i can), so i think i'll fit right in.

Speaking as a musician trying to figure this out, here's what I'd do:

Throw out the GUI stuff and/or abstract it away entirely. These are distractions.

Provide a full implementation, with comments. This should be something that one can play with and use with other sounds.

Provide a high level explanation, with another layer that goes into more detail with the theory.

Provide a layer that connects the theory with the corresponding code. If there is an intermediate step, derive it.

Bottom line is: there should be no black boxes, and overhead cruft should be taken away. Especially the ones that distract the listening experience like knobs with physics engines attached to them or something.

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In the span of 24 hours, I've seen two "how to build a reverb plugin" tutorials on twitter.

The first was a blog post which would have been better titled "how to make a GUI for this premade reverb algorithm using JUCE". The actual reverb bit was essentially one line of code.

The second "tutorial" was a 59 second promo video that said the words "convolution" and "feedback delay network".


What if the podcast was a giant crossfade loop?

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hello! ( #introduction )
i like to make video games but have been struggling to find a workflow that suits me well. i discovered #uxn after considering making something similar, and i've been working on a game using it. i'm here because uxn introduced me to merveilles, and i wanted a way to get to know y'all better! i'm also interested in challenging myself more in some of the areas you all are passionate and knowledgeable about, especially around technology and sustainability. nice to meet you!

I've got a new favorite definition of gesture, from webster's 1913:

A motion of the body or limbs expressive of sentiment or passion; any action or posture intended to express an idea or a passion, or to enforce or emphasize an argument, assertion, or opinion.

day 19

Thinking about: the innsmouth look, ritual, basso profondo, throat singing, the predator, whispers.

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All compositions
by Charles Mingus except
as indicated

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Does anyone here have recommendations for a (command line) time tracking tool for projects/work? I've used timewarrior before but it kind of sucks. #foss

day 18

thinking about: liquid dnb, morphing FM oscillators.

these drum sounds are actually samples from @unfa beatboxing!

The operatic vocals feel out of place, but I promised myself I'd use vocal synthesis for every looptober. Also, the mix might be thin because I didn't get a chance to monitor on bigger speakers. But, I ran out of time, and that's that. I think my eyes were bigger than my stomach for this one.

I've already promised myself to write a "synthwave from scratch" blog series, which will break down all the coding, sound design, and DSP concepts involved in making this track:

There are drums, bass, and lead sounds that could turn into potential guests on this radio show. Or maybe they are one sound object and there is less detail?

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Through this very silly 50s narrative, I'd want to somehow talk about real DSP algorithms and concepts used in computer music and sound design.

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the interviews are all conducted on the hosts spaceship, which is basically a bubble. did I mention this is all in outer space?

And the various sounds? They'll actually be various aliens and sentient beings from neighboring planets, galaxies, and dimensions.

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This has been slowly developing over the course of the day.

The general format would seemingly resemble that of a radio talkshow with a host. BUT the guests on the show will be the sounds themselves. The hosts asks the sound questions, it plays itself as if it were talking, and then the host sort of comments/translates. And this is how the sound gets analyzed.

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Concept: an edutainment podcast/radio drama about computer music and sound design. Think MST3k meets Bob Ross meets Adventure Time meets Blue's Clues. Thoughts?

day 17

thinking about: music for airports. isorhythms.

Every note performed is played as a loop, each with a different duration. So, in that sense, I'm still keeping up with the loop spirit.

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Welcome to, an instance for discussions around cultural freedom, experimental, new media art, net and computational culture, and things like that.

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