No computers were harmed during making this video .
Making of vimeo.com/65763564
Creating the film wasn’t an easy task. Preparations took well over 2 months of my free time. It is surprising, but no work was done using CGI, only good oldschool stopmotion animation and motion control slider provided by Ditogear.
Thx to: Lesny, Gajorro, Gumis, Fasola, Squoka, Radek, Ola – Janusz, Robert/ditogear, Robert/pixelheaven, Dzemik, Agata, Camel, Jake/the Virus Empire
Background video description:
Skrillex was the most requested artist so your wish is my command. Bangarang was a challenging song with respect to timing and now I have a new respect for Dubstep. For all the haters out there the audio in this video is 100% in sync with the original song. If you don’t believe me then test it out for yourself.
Vocals were performed with the DECTalk Express. The same speech synthesizer used by Stephen Hawking back in the eighties. The main vocals are the Betty and Rita presets overlapped. Kit and Dan vocal presets were also used.
Back in 2009 I used an 8 inch floppy drive in my Bohemian Rhapsody video but this time I wanted to update it with Sammy1am’s Arduino version. I find 3.5 inch floppy drives only sound good when playing short duraton notes with a fast tempo.
DECTalk – vocals
HP Scanjet 3C – lead
Yamaha CX-5 computer – guitar
Floppy and CDROM – lead bass solo
Modified Toy Laser Guns
Robot Bass, Snare and Cymbal
A look into how to create music on the MSX home computer using FM expanders.
Ft. Julian (CMEN) from the Netherlands, and cTrix from Australia.
FOR ALL YOU C64 FANS OUT THERE, ENJOY
I’ve been a big fan of the Commodore 64 since its release way back in 1982. As 2012 is the ’64′s 30th anniversary, I wanted to produce something in honour of this great little machine that has given me countless hours of pleasure, frustration, and head-banging! Here it is. For reasons of time and space, I had to cut a few scenes that were originally planned (and have been created) but I will probably use them in another C64 video in the near future.
If you’re able to recognise all the games/references in this video then you truly are an Old School Commodore geek. I’m proud of you!
Please check this description out again shortly, as I’ll be uploading some HD Windows desktop wallpapers featuring many of the 3D models used in this video, plus some more that didn’t make it into the final edit.
Video by Mike Berry, AKA The Kernal.
Music from Terra Cresta, arranged and remixed by Jess D. Skov-Nielsen.
Originally composed by Martin Galway.
Thanks to Jess D. Skov-Nielsen for giving his kind permission to use his music.
Thanks also to David “Jazzcat” Simmons for helping to supply most of the group/scener logos.
HP Scanjet 3C as the vocals. It lags a bit due to the fast paced vocals. In order for the stepper motor to play a note it has to be moving and with that large carriage it takes a few milli seconds before it can play a note. It doesn’t sound like a lot of time but stretch that over a 4 minute song and voila…out of sync. Programming does help to compensate but it is not perfect.
Amiga 600 Bass on left audio output and Guitar on right audio output
Each audio channel was feed into an oscilloscope
2 Harddrives as the drums and cymbal
Xylophone as the Xylophone (duh)
Both the Harddrive and Xylophone are controlled by one PIC16F84A mircocontroller
Another useless device.
Imperial march played by two floppy disk drives.
How does it work?
“It’s nothing new and it’s very simple. The sound comes from a magnetic head moved by stepper motor. To make a specific sound, head must be moved with appropriate frequency.
FDD has a simple interface – the description may be found for example [ HERE ]. To move the head you need to activate the drive by pulling the DRVSB0 or 1 (depends on the cable you have and the connector – notice the crossover on the FDD ribbon cable) pin low and then falling edge on STEP pin makes the head move one step in direction dependent on DIR pin state.
An ATMega microcontroller is generating those frequencies and it makes the drives play music.”
This is the second of two collaborations between Michael Scroggins and Barry Schrader in the late 1980s.
When Michael Scoggins first came to me with quite detailed plans for his computer video work 1921 > 1989, I was struck by the overriding importance of structure in the piece. While it was obviously in three large sections, the intricacies of the details of each section were such that they not only displayed specific characteristics which gave each sections its unique character, they also seemed to exhibit in visual terms the musical qualities of exposition, development, and expanded recapitulation, something akin to the classical sonata form. In addition, the precision of the timing of the movements called for composing a score that would catch the specific “hits” of the action. At the same time, I realized that constantly “stinging” the images would quickly grow tedious; some sort of deflection from the obviously expected was occasionally necessary in this regard. Finally I saw that the limitations of images and colors, which were explored in great detail of variation, demanded a similar approach in the musical materials.
I decided to employ these observations in composing the music, and also to take the attitude of scoring to a preexistent choreography. I saw 1921 > 1989 as a dance, not of human dancers, but of plastic geometric entities, constantly reorganizing themselves in different ways. The music, then, was arrived at by considering the score as if I were composing music to a dance already created. The resulting work reflects these attitudes, moving from accompaniment to counterpoint and back again to a more synchronous style of scoring, thus reflecting the overall structure and plasticity of the piece and creating a unified whole.
For more information, and an explanation of the title, go to barryschrader.com ➔ video
The new Livewire Chaos Computer is an expandable system using complex mathematical functions to produce multiple chaotic CV outputs.
CORE CHAOS ENGINE
The heart of the system is the Core Chaos Engine, which utilizes dual 32-bit Chaos Processing Units (or ‘CPU’s) and a x-modulo feedback parity tree to produce 2 sets of 4 related but distinctly unique random stepped voltage outputs. The randomness of the outputs (ranging from cyclical conformity to total anarchy) is controlled by 16 probability switches, which determine the structure of the x-modulo parity tree. Each of the 8 outputs varies based on coefficients determining specific weighting and distribution.
The Random Gate expansion module provides addtional 16 outputs (8 per CPU) each with unique random gate patterns. This module would be very useful in triggering rhytmically related random events. Up to 8 Random Gate expanders can be added for up to 64 distinctly separate outputs.
The Analogue Computation expansion module selects 2 variables, 1 each from the 4 random stepped voltages of both Core Chaos Engine CPUs. These variables are then processed through 8 mathemathical operators providing a further 8 related, but unique random CV outputs.
In this video:
Here again is the prototype Livewire Chaos Computer eurorack module, this time with the highly respected Livewire Audio Frequency Generator and FrequenSteiner modules. We have the Chaos Computer synced with the Metasonix D-1000 for some sweet analog rhythm.
“a girl in Tokyo play the iPhone/iPodtouch APP(Digital Bass Line DB-303).the security guard in the station building was angry after this….”
“ipsound” has shared this demo of a new music computer app called Live Music Coder
Live Music Coder M^2 OSC is a new computer music app that calculates note numbers and play their sounds in real-time, operated by using command-line style interface.
It supports Open Sound Control to play external sounds too.
“We make an effort at simple and real-time operation,” note the developers. “You can do all operations of the parameter change etc. while playing music in real-time.”
You can get a taste of the Live Music Coder command options below.
Live Music Coder is available now for $1.99 in the App Store.
view data list
view current status
1) user parameter
r1,r2 : array of note number
- note : 4 octave from 1 to 48, except for them are silence. 1tick = sixteen note.
- sound: sine wave which decreases envelope , no volume controller.
- tempo : 40 – 160 BPM
a0, b0, c0, d0 : 4 output sound channels. calculate each formula.
- simple example
r1=1 3 5 6
r2=13 15 17
output A track : C1 D1 E1 F1 C1 D1 E1 F1 C1 ……. repeated
output B track : C2 D2 E2 C2 D2 E2 C2 D2 E2 …….repeated
as sixteen note
+, -, *, / , % ( add, subtract,multiply,divide,residue)
?,:, !, <, =, >,| (if, else, not, smaller, equal, larger, separator)
4) embedded parameter
q : tick. increment this per sixteen note.
s : slider value (0~99)
x : random value (0~range) range:0~99
v1,v2,v3,v4 : store the value before separator(|) and branch(?,:), then reference in the expression.
(1|2|3|4| -> v1=1, v2=2, v3=3, v4=4)
a1~8, b1~8, c1~8, d1~8 : history of a0, b0, c0, d0 (a0->a1->a2->a3->a4->a5->a6->a7->a8)
5) formula samples
** First of all define the array (sequence) “r1/r2″ of note number and then calculate them in the sound track (a0, b0, c0, d0).
r1=1 3 5 6 8 10
a0=r1+1 -> 2 4 6 7 9 11 ….
a0=r1?>5+12 -> 1 3 5 18 20 22 ….
(if r1>5 then r1+12)
a0=r1?>5+12:12|v3 -> 12 12 12 18 20 22 ….
(if r1>5 then r1+12 else 12)
a0=r1?>5|24:12|v4 -> 12 12 12 24 24 24 …..
(if r1>5 then 24 else 12)
r2=1 0 1 1 2 0 2 2 (0: rest)
1 0 1 1 2 0 2 2 1 0 1 1 2 0 2 2 …
(simple random music)
start/stop : start/stop music
list/load/save/delete : list data file, load/save/delete data
status/view/help1/help2 : view current status, view selected data int the list, show help1/help2
clear : back cursor or clear-all-parameter
enter : execute command
r : define note number (switch r1/r2)
a : select (a0,1,2,3,4,5,6,7,8)
b : select (b0,1,2,3,4,5,6,7,8)
c : select (c0,1,2,3,4,5,6,7,8)
d : select (d0,1,2,3,4,5,6,7,8)
a0: describe formula of sound track 1 (left operand only)
b0: describe formula of sound track 2 (left operand only)
c0: describe formula of sound track 3 (left operand only)
d0: describe formula of sound track 4 (left operand only)
a1-8: reference history of output note number of track1 (right operand only)
b1-8: reference history of output note number of track2 (right operand only)
c1-8: reference history of output note number of track3 (right operand only)
d1-8: reference history of output note number of track4 (right operand only)
v : select (v1,2,3,4)
selector : switch octave
OSC : OSC setting