Cautiously optimistic that my external blu ray drive isn't dying, it just needed more power.
Come on, lil buddy, you can do it. Just a few more to go.
Cautiously optimistic that my external blu ray drive isn't dying, it just needed more power.
Come on, lil buddy, you can do it. Just a few more to go.
@hazelweakly probably the risset rhythm. It's a neat audio illusion that sounds like the beat is infinitely speeding up or slowing down. fold4,wrap5 by Autechre [0] is a beautiful example of a risset rhythm being used.
This has been a day of weighing things. I probably weighed over 50 items.
I feel I am close to perfecting my steam cooker risotto recipe.
It's almost not worth it because it takes more time, and a stove top is still involved.
The plus side is that it's much more asynchronous compared to the usual stovetop method. You can work on other things while it is going.
Dreaming of furnishing a tiny home with Japanese camping equipment.
That cool circular sequencer idea you were thinking of implementing was already built over 500 years ago.
I often forget that humans have been clever for a very, very long time.
Watch the first minute of this and see what happens (14th century!):
New phone new notification sound
@icedquinn what happened to it?
@icedquinn never heard of a nep before. what year was the book published.
I think the Bel was a unit invented by Bell Labs to measure degradation of a signal over copper wire. Wonder where the Nep origin came from.
@icedquinn I'm reminded of a joke my professor once told me: "The decibel, like incest, is relative."
This is about the second time someone was willing to pay me money (try to) make their audio DSP "go faster". Which is a terribly shitty task.
Render a full track in a DAW time how long it takes. That's how long it takes in the industry. If you're asking for it to be faster than that for your stupid music app without sacrificing quality, that's a big ask I probably won't be able to do, and you couldn't afford it even if I could.
- high contrast high density display
- works in sunlight
- tactile interface
- insane battery life
- DRM free
- low latency
- non-volatile storage resilient against power failures (rain/water not so much)
Controlling Kodi/Libreelec with a wired controller is so much more responsive/reliable than a wireless controller. It took me 30 seconds of using one to get an extra controller (I've been wanting another one anyways so this was a great excuse).
In about a week or so, I am planning on returning to my Rust DSP library, called BoingBoingBoing [0]. I have set up a roadmap/todo list. The hope is to port a large portion of sndkit [1] functionality to this library. At that point, I intend to take advantage of Rust's WASM support to create more interactive web-based audiovisual compositions and experiences.
I do want to get some of my gesture synthesis stuff working with Boing^3 as well, but I want to think about it, as there's too much "rewrite in Rust" syndrome happening already. I'm thinking about another portable system that already works with my current C based environment [3], whose data can be meaningfully exported like a file format and loaded into small environment implemented in Rust. Kind of like what WADs are for Doom.
0: https://github.com/paulbatchelor/BoingBoingBoing
Reading the "Doom Engine Black Book" has changed my perspectives on software portability. I used to always think "Oh, C is super portable, look at DOOM it runs on everything". In reality, there were a bunch of caveats and technical hurdles that were needed to overcome each and every port. It didn't "just work". The thing that was truly portable? The WADs. The data. It's making me rethink my approach in my own creative software ecosystems. Up to this point, my work has been represented as code and executable programs. These are more brittle than I expected. It turns out, I can't even rely on C compilers to add 2 floating point numbers with consistent behavior. So, I'm trying to think about designs that are more data-oriented and implementation-agnostic.
Today's sound fixation is this canadian loon call:
I've attempted to build an empirical model of the classic loon warble. It's just made from well tuned sine waves and envelope generators.
The first is the actual call I was analyzing. The second is my synthesized attempt. The third is my attempt put through a forest reverb impulse response.
There's a beautiful lilt happening in that initial onset that I'm missing from mine. But, I think it captures the vibe well enough.
More looning around this morning. This time I'm trying to build a crude model around the "cry" of the loon. (Recording: reference, synthesized (wet), synthesized (dry))
The pitch curve of the cry is both jumping and rising. The jumps (which sound like voice cracks) remind me of yodeling.
Since my loon call yesterday, I've added a bit more grit to the sine oscillator spectrum. I've also added a bit of ambience noise using filtered white noise and sparse noise for pops.
Sometimes I get asked "Should I watch the Nightmare Before Christmas at Halloween or Christmas?"
The answer is "yes".
Sound artist exploring the human voice, simulacrum, and mechanisms for lyricism.These are some of my favorite things: vocal synthesis, generative music, Palestrina, audio DSP, baking, croissants, tea, dogs, grids, retrogaming, computer graphics, powers of 2, 1-bit art/sound.Over the years, I've developed several audio engines and music software ecosystems, and like to talk about them here. I also have a quieter account where I mainly talk about vocal synthesis: @patchlore
GNU social JP is a social network, courtesy of GNU social JP管理人. It runs on GNU social, version 2.0.2-dev, available under the GNU Affero General Public License.
All GNU social JP content and data are available under the Creative Commons Attribution 3.0 license.