Adrian Freed
is the Research Director at CNMAT. His web page has a whole pile of
links to research papers, mostly about the architecture of computer
music systems.
The algo-comp
mailing list is devoted to algorithmic composition.
Not a lot of volume, but with a bunch of good people
subscribing the general quality of discourse is fairly
high.
Algorithmic Arts
sells John Dunn's midi software. Many years ago he made
a very interesting freeware MAX precursor called Music Box. Apparently
you can't get it from him any more, but I have the source code somewhere,
so I should link to it.
Here's good description of how a bunch of guitar
Audio effects work,
and an Audio Effects Faq with an emphasis on digital implementations.
``AudioMulch is software for real-time sound synthesis, music composition and audio processing.'' Looks like a
dataflow programming environment. Supports VST plugins.
Shareware ($50 to register, disabling 90 day expiration.)
Clarence Barlow's Autobusk
is a freeware Atari ST program for real-time probabalistic generation of MIDI events.
Clarence is working on a Linux port, and in any case, he includes a pointer
to a Windows ST emulator.
Here's a bunch of resources on Digital Signal Processing that have been sitting in my mail for six months:
You'll need a bigger HD now!
Here's a paper about Bol, a computer system for Macintosh by Bernard Bel for composition and analysis, with emphasis on polyrhythms.
Here's a system for composing MIDI sequences, describe in a paper by Alin Dorin, that uses Boolean networks (something like cellular automata) to generate rhythmic structure. Has a colorful user interface, and runs on Macintosh.
Boomer Bag is a web repository of rhythmic and harmonic fragments. You can listen to the contributions, rate them and submit your own.
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CMIX
is a fairly useful package of routines for editing,
processing, and creating soundfiles. It also includes a
library of routines designed to make it easier to write C
programs to manipulate soundfiles. Paul Lansky wrote the
first version and uses it for most of his compositions.
Many different processes, from devastating earthquakes to crumpling
pieces of paper to magnetizing magnets to glitchy, noisy music,
make crackling noises.
Here is a pretty good
web site devoted to explaining the phenomenon scientificly and
simulating it on a computer.
David Cope
is a composer and faculty member at UC Santa Cruz, known
widely for his Experiments in Musical Intelligence,
computer programs that can analyze a corpus of music,
identify signature features of the corpus and generate
new music exhibiting the same signatures. The effect
of digesting a composer's style and producing new works
mimicking that style can be eerie. While the programs
don't produce masterworks, even making middling Mozart
pastiches is a good trick. But Cope's real advance is
a better understanding of where style comes from, a
first step to effing the ineffible.
From slashdot we hear about
Dialtones,
a composition played by dialing the audience's mobile phones.
According to the technical diagram,
they installed a microcell site at the concert hall and
programmed things so that the conductor could dial selected
patterns of phones at will.
Griffin
Technology makes a very nice, if pricy, controller
knob called the Powermate
that plugs into a USB port.
It's a beautifully machined, free-standing aluminum knob,
with a glowing blue base (looks sharp, and makes it easy to find in the dark.)
I've been looking for a good-feeling, cheap rotary controller
for a long time, and while this isn't it (at $45, I can't
justify a dozen of them), at least it's got the good-feeling
part right.
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