#Jeskola Buzz

[soapdispensersalesman]

#f4mi #video essay #documentary #Nintendo Wii #Nintendo #Wii #Homebrew Channel #Homebrew #The Homebrew Channel #drmr #tracker #Berlin #console hacking #hacking #Zelda #Twilight Princess #zelda twilight princess #GameCube #Nintendo GameCube #Bushing #Ben Bushing Byer #CCC #chaos communication congress #starlet #team twiizers #twiizers #failoverflow #fail overflow #Jeskola Buzz #Youtube

[thedyf]

#tmx #sleepless #chiptunes #remix.kwed.org #one night more #Chris Hülsbeck #Jeskola Buzz

[l-1-z-a]

The Sims 2 GBA/DS OST - Prototype Tracks

These were composed during production of the Sims 2 handheld games, developed by Griptonite and published by EA in 2004.

All songs were made with Jeskola Buzz, my weapon of choice in the mid-2000's for full production music, before I switched over to Renoise.

These are very similar to the in-game versions, since I sampled these versions and re-sequenced them for use on the handheld systems. The Create-a-Sim songs were early ideas that never made it into the game (the final CAS song is much better if I do say so).

Guitars by Kyle Johnson/Moontech Studios

Track List:

0:00 Strangetown

0:51 Strange Night

1:28 Strange Day

2:41 Create-a-Sim A, B, C*

3:17 End Credits*

3:54 Xizzle Cutscene

4:02 Ratsuit Cutscene

* Early/abandoned concepts

-Video Upload powered by https://www.TunesToTube.com

#sims 2 #ts2 #sims2 #the sims 2 #sims 2 gba #sims 2 nintendo ds #nintendo ds #music #prototype tracks #sims 2 ds #sims 2 nintendo ds beta #Youtube #Ian Stocker #Kyle Johnson #Moontech Studios

[deepnerdblog]

Flow States, Process, Experiments and Creative shtuff

So like... the goal is to take cool riffs from guitar and keyboard and cool beats and make some cool shit. To write out riffs and take notes and be able to go from loops and or riffs to some really pleasing sounding shit. Looping or having a well laid out sound room with mics and a master keyboard with some form of control for all hardware is all about setting up the tools in a way that you can 'sculpt sound' or fuck around and find something groovy. It's hard to keep the stuff straight and keep the technology from getting in your way when you want to just go. A lot of synth hardware guys have their default sort of thing - they turn on power and just go. Having a lot of choices - DAWless master clocks and eurorack and just going on, four on the floor and patch the lfo into something and make a well sound designed loop. which personally has always been a bitch to turn into something more than a loop (but it's easier if you have that mixed loop broken down into discreet channels). or taking samples and stretching the sample into something that spices up lame loops into something groovy.

So what I have is reaper and a template to drive every piece of hardware from one controller. Depending on which channel is receiving midi, the CC controllers(drive most of the knobs etcetera with a instance of a JS Midimapper script for each CC). Technology shit which is all well and good, but at some point I need the sound design stage to become the song writing stage. Which needs to be fast, which is why having everything sync'ed up and two or three clicks of a button from recording ideas is handy. So the other accomplishment today was saving Templates - one for my Midi hardware, one for the Looper8 template, and one for VCVRack and it's associated channel outs. Fiddly stuff to make cool noises.

The other thing I've tinkered with is simply going back to old loops and beats - so I can grab good old jeskola buzz for throbbing bass and filters, run sound from my desktop into my current reaper setup, then go from there. Old Reason and buzz were great quick ways to get funky ideas down and then export stuff to a platform for recording and refining. The tracker workflow is fiddly but expansive.

YMMV- whichever tool gets you stuck in and nodding your head quickly is the best tool to get into the flowstate. Floops etc.

Writing this journal and alternating between philosophical overviews and technical jibber jabber is actually really useful for me. It saves me from wearing down people around me with rants 'oh hey i am frustrated with obscure hobby triviality thing number 2918' and also it helps me explore my process.

So the other interesting thing on the philosophy and 10,000 feet above process is to think about how the energy of the making stuff process affects the actual stuff being made. Like techno or house are based on evolving repetition, on mixable semi formulaic ear candy that is made through iterative editing and refinement. The loops sound good looping and sounding good and iterating while delighting the ear somewhere between the expected and unexpected. The loop and the dancefloor have a mindless sympatico. Meanwhile traditional song formats have overdubbing and harmonies that delight the ear via layers and groove, basic harmonic palette and auditory storytelling. The format and the process are intertwined, the ad libs and the back up singing and the motifs and the throwbacks to genre convention all create the pop music Vibe. From Deelite to Silk Sonic to classic funk. To abstract rhythmic chaos to the almost Pink Floyd like style of Hawtin and Namlok decades ago. Production is the process of ingredients and preparation that go into songwriting and it's a damn messy hobby but a entertaining obsession.

#old man rants on the cloud #deep nerd shit #process

[hexadoodles]

One of my way too many hobbies is making electronic music! I made a Bandcamp page and uploaded the highlights of stuff I made in Jeskola Buzz from 2004-2014. The album "Sand Circus" has sixteen songs, all free to download. Hope you enjoy!

This winter I'm going to try and learn a new music studio, LMMS, more fully and see if I can come up with some newer pieces.

#electronica #techno

[michaelgogins]

More Rant-Like Musings on Algorithmic Composition Software

I have recently completed a Haskell foreign function interface (FFI) to Csound, with helper functions for using Csound to render Euterpea Music values. The code is almost completely contained in Csound.hs.

In the process of writing this I have, of course, gained a better understanding of the facilities afforded by Euterpea (by Paul Hudak and others) and its offspring Kulitta and Jazzkell (by Donya Quick). In addition, while searching for other music made with Haskell, I have also learned more about TidalCycles by Alex McClean and others (for live coding music) and csound-expression by Anton Kholomiov (compose both score and orchestra in Haskell, render with Csound).

Below I list other systems that I have used or tried to use or at least examined, followed by a second list of pieces made with some of these systems. This post can in fact be used as (a highly incomplete) guide to recent algorithmic composition software. Repeating the above-mentioned systems, and in alphabetical order:

athenaCL by Christopher Ariza (Python, no longer maintained).

blue by Steven Yi (Java).

Common Music by Rick Taube (Common Lisp version, minimally maintained).

csound-expression and temporal-media by Anton Kholomiov (compose both score and orchestra in Haskell, render with Csound). csound-extended and Silencio by Michael Gogins (JavaScript, Common Lisp, Python, Haskell, C++).

Euterpea by Donya Quick (Haskell).

Grace by Rick Taube (Scheme), the most direct descendant of Common Music.

Jazzkell by Donya Quick (Haskell).

Jeskola Buzz by Oskari Tammelin (a tracker, but you can do algorithmic composition in it using peer controllers).

Java Music Specification Language by Nick Didkovsky (Java, no longer maintained).

Kulitta by Donya Quick (Haskell).

Max by Miller Puckette and Cycling 74 (custom visual programming language).

music21 by Michael Cuthbert, Christopher Ariza, and others (Python). 

nudruz by Drew Krause (Common Lisp, maintained by me, includes a Csound FFI to Common Music and OpenMusic).

Nyquist by Roger Dannenberg (XLisp).

OpenMusic by IRCAM (visual programming language based on Common Lisp).

Pure Data by Miller Puckette and others (visual programming language).

PWGL by Mikael Laurson, Mika Kuuskankare, Kilian Sprotte and others (visual programming language based on Common Lisp).

Reaktor by Native Instruments, which although primarily a user-patchable or visually programmable sound synthesizer, can also be used to compose.

RTcmix by Paul Lansky, Brad Garton, and others (C++ with custom scripting language).

Rubato Composer by Guerino Mazzola (Java, no longer seems to be maintained).

Slippery Chicken by Michael Edwards (Common Lisp, looks like another offshoot of Common Music).

SuperCollider by James McCartney and others (custom programming language).

TidalCycles by Alex McClean and others (for live coding music, Haskell).

Here I have ignored approaches to algorithmic composition based on machine learning, not because I think them unimportant, but because I don’t yet know enough about them. A starting point however would be Google’s Magenta.

I link below to some pieces that hint at the potential of some of these systems. Of course, it’s impossible to list all the best algorithmically composed pieces. My objective here is simply to focus on musical quality and originality and to present the best pieces I could easily find that were made using some of these systems.

Please note, I am primarily interested in pieces for fixed media, i.e., pieces that could be thought of as “through-composed” as opposed to “improvised.” But a lot of the action today is in improvisation, interactive pieces, and live coding. 

My own example piece: Parachronic, 2018 (CsoundAC in csound-extended).

I should stop right here before even starting, and mention the pathbreaking work of Iannis Xenakis, whose works such as La Legende d’Eer and Gendy3 proved very early on that programming could be used to compose great music. Ideas from Xenakis’ software live on in many other systems.

Gendy3, Iannis Xenakis (composer software).

La Legende d’Eer, Iannis Xenakis (composer software).

Rough Raga Riffs, Brad Garton (composer software in Common Lisp, probably rendered using RTcmix).

Le lac, Tristan Murail (OpenMusic).

for rei as a doe, Michael Edwards (Slippery Chicken).

demiurgic ecstasy whispering in streets of ear, Christopher Ariza (athenaCL).

Carlisle Variations, Drew Krause (nudruz, rendered by me using Aeolus).

Tom Johnson - Algorithmic Composition, “Algorithmic Composer” (Pure Data).

Fractus 1, Eli Fieldsteel (SuperCollider)

Algorithmic Composition, “acreil” (Pure Data).

Vanishing Trajectories, Akira Takaoka (composer software and RTcmix).

Zero Waste, Nick Didkovsky (Java Music Specification Language).

Tourmaline, Donya Quick (Kulitta).

Elmas Krizi, Andrew Bergemann (Rubato Composer)

Hypnotize, Donya Quick (Jazzkell).

TidalCycles Jam 1, Eloy Platas (TidalCycles).

Jungle Etude 1, Anton Kholomiov (csound-expression).

This exercise has been exhilarating in that it discloses some hints of the amazing potential of algorithmic composition, yet somewhat depressing at the same time. 

My depression arises from the fact that wonderful facilities provided by one system cannot be used by another system unless, as is actually often the case, they are re-implemented from scratch in that system. Needless to say, this is an immensely wasteful duplication of effort, and often does not quite work. Also, note the large number of systems that are no longer maintained, or are maintained by one aging composer/developer... for an even more extensive and possibly even more depressing list of software systems for composing, see Christopher Ariza’s list. 

Another source of depression is the great efforts expended by many composer/developers without leaving evidence of any music that I would like to hear again.

Composers are like cats, they are impossible to herd. But in algorithmic composition, almost all of the software developers are also composers. In other fields of software development, after a decade or so, standards emerge and the resulting synergies supply a walloping jolt of power to the field. Every new feature or library in one sub-field can then be used by developers in all the other sub-fields. Examples would include the entire suite of W3C standards, the MIDI and MusicXML standards in commercial music software, and standardization on certain programs such as Pro Tools or Max in computer music. As my list sadly demonstrates, this has not happened so much in algorithmic composition software.

I call on all composers who also are software developers to do something about this. It may be too late to do anything about existing systems, but if you are contemplating developing a new system, please carefully consider my strong advice.

Update 15 October 2019: James McCartney, the developer of SuperCollider and other computer music languages, commented “No” regarding these points because he perceived them as obstructing research and personal goals. I think that his point about a continuing need for research in new music programming languages is quite valid, so I have edited my advice to reflect this. I would like to stress that my overriding concern here is to create synergies based on the the ability to use new facilities and features along with existing ones, and to avoid unnecessary duplication of effort.

Do not create a whole new system. Instead, create an extension for an existing system.

In fact, create an extension for OpenMusic, Euterpea, Pure Data, SuperCollider, or Csound.

If you do create a whole new system, do not create a whole new programming language, even if you know how. Instead, create a library or package for an existing language.

In fact, choose a widely used language such as C++, Common Lisp, JavaScript, or Python.

If you do create a whole new language because it would just be so cool, do it as a library or package for an existing system (examples would be the embedding of the Python and LuaJIT programming languages in the Csound orchestra language, or the embedding of Csound in Pure Data and Max/MSP), or provide an application programming interface that can be used to embed your new language in other applications. And that leads to...

Create your system first as a library or package, only after that as a standalone application.

Many systems have issues with the representation of music. The developer/composer often creates a representation that suits their own particular style of music but does not work well, or at all, for other styles. MIDI 1.0 as it stands is no good, but it looks like MIDI 2.0 may be better. In any event, make sure that you support arbitrary pitches, rhythms, densities of notes and sounds, tied notes, and so on. Note that Csound has a very good low-level representation of musical events.

I compiled these lists to help guide my own future work in both composition and software development.

Please notify me of any errors you find in this post, or any suggestions you have for improving it.

#music #algorithmic composition #software engineering #computer music #haskell #common lisp #javascript #csound #python

[jozefaleksanderpedro]

untitled from pajzd on Vimeo.

just another cracker made with the madam ron five string yeps another string broke � flamenco guitar &&& bespoke , an object oriented dsp programming language open source , just like pure data, jeskola buzz something very fresh & edge, airwindows latest plugin

njoy j.a.p. march 2022

[johnzacharopoulos]

Music release: Littoral Cave - Cascading Rose System

The first full-length release from my project Littoral Cave. Recorded 2018-2021 using synth and computer.....which is my cool press release way of saying I used a Korg Monotron and Jeskola Buzz to make the album.

It was released in an edition of 25 copies on translucent deep blue cassettes in an envelope and comes with a 12 page art booklet of collages I created as part of the world I was thinking about whilst creating the music. Some of the collages are present here on this website.

Released 07/11/2021 on Abyss CDR.

https://abysscdr.bandcamp.com/album/cascading-rose-system

#2021 #abyss cdr

[partymapacademy]

Which Type Of Unique Gear Do Top Music Producers Use?

Production Gear is a lot of powerful and accessible than ever, however it’s not the gear itself that creates nice music. It’s ideas, taste, and practice combined with a solid kit that makes the messy method of making a song much easier and more fun. therefore what trusted tools do the pro’s rely on everyday to craft some of this biggest songs within the biz? smart question. We’ve gone ahead and compiled an extensive list of studio staples so you’re feeling like you’re right there in the studio looking for the setup of every producer on our list!

Common Studio Tools for Producers

Synths

Native Instruments Plugins and Sylenth seem to be crowd favorites no matter who you talk to.

Komplete/Native Instruments plugins — Sharooz, Diplo, Dada Life, Camo & Krooked,Skrillex, Flume, Netsky, Nicky Romero, Boys Noize, Calvin Harris, Breach

Sylenth — Martin Garrix, Hardwell, Camo & Krooked, Flume, Netsky, Dada Life, Afrojack

DAW

Ableton — Flume, Netsky, Dada Life, Kill Paris, Diplo, Wolfgang Gartner, Skrillex, Baauer, Flosstradamus, Bass Kleph, Deadmau5

Logic — Disclosure, Hardwell, Flosstradamus (yes twice), Nicky Romero, Chocolate Puma, Boys Noize, Calvin Harris, David Guetta

FL Studio — Martin Garrix, Porter Robinson, Afrojack, Avici, Camo & Krooked

Cubase — Stimming, Breach, Sharooz, Noisia, Zedd

The Interesting Bit: Unique Gear & Setups

NETSKY STUDIO SETUP

DAW — Ableton

Monitors — Mackie HR824 which are popular with the Drum & Bass crowd due to their emphasis on bass

Studio Headphones — Audeze LCD XC

Soundcard — RME Fireface UFX

Go to plugins — Omnisphere, Sylenth, B4, Real Guitar

FLUME’S STUDIO SETUP

DAW — Ableton

Monitors — Barefoot Micromain 27, but he started with the popular KRK Rokit 8’s

Studio Headphones — Sennheiser HD-600 (check out studio headphones in the DJTT Store)

Soundcard — RME Fireface UCX

Go to plugins — Sylenth because he “can make anything (with it)”

Other Tools — Maschine MK2, Akai Apc 40, Teenage Engineering OP-1, Novation 25SL keyboard

KINK STUDIO SETUP

DAW — Jeskola Buzz, a free modular software.

Monitors — Tannoy Reveal 6D Studio Monitors

Go to synths -MFB 522 and a lot of analog gear

KILL PARIS STUDIO SETUP

DAW — Ableton

Monitors — Focal Solo 6Be

Soundcard — UAD Apollo/Twin

Go to synths -He uses analog synths like the Jupiter 80, Juno 106 with lots of processing

Studio Secret — “Lots of UAD processing. Multiband comp and EQ BEFORE distortion.“

#music production courses in india #learning music production in india #best music production institute in india #fl studio course in india #fl studio classes in india

[narq]

Turn out the house lights by narq http://ift.tt/2crJAKW

#jeskola buzz #acid

[ugotsta]

Finally released the video of this one, an old-school, acid-style composition made using Jeskola Buzz. Lots of TB-303, TR-808 and TR-909 sounds.

#jeskola buzz #hidden in darkness #old school #acid #303

[l-1-z-a]

The Sims 2 GBA/DS OST - Prototype Tracks

These were composed during production of the Sims 2 handheld games, developed by Griptonite and published by EA in 2004.

All songs were made with Jeskola Buzz, my weapon of choice in the mid-2000's for full production music, before I switched over to Renoise.

These are very similar to the in-game versions, since I sampled these versions and re-sequenced them for use on the handheld systems. The Create-a-Sim songs were early ideas that never made it into the game (the final CAS song is much better if I do say so).

Guitars by Kyle Johnson/Moontech Studios

Track List:

0:00 Strangetown

0:51 Strange Night

1:28 Strange Day

2:41 Create-a-Sim A, B, C*

3:17 End Credits*

3:54 Xizzle Cutscene

4:02 Ratsuit Cutscene

* Early/abandoned concepts

#sims 2 #ts2 simblr #ts2 #sims2 #sims 2 beta #the sims 2 beta #sims 2 nintendo ds #sims 2 gba #music #Ian Stocker

[deepnerdblog]

https://www.instagram.com/sunshine_jones_/

this guy above has a deeply helpful playlist on the Korg Triton.

vcvrack is a good product and also there are open source versions of it as well if you dig around on github. vcvrack has a punishing license for volunteer developers. it is kind of like the anti jeskola buzz but also its full of eurorack synthetic goodness.

jeskola buzz is a amazing tracker. may have difficulty running on Win 10 or Win 11. I keep a internetless Win7 desktop just for old audio needs.

i'm not posting anymore links unless something amazing deserves it. the above is a mix of software, creative geniuses who make a living on patreon or designing hardware or at the top a classic house musician who is too busy being a wizard to give a fuck about patreon or streaming. shoutouts also go to the music streamers of twitch that don't suck- live loopers and improv musicians - and Questlove who streamed during the covid lockdowns and interrupted his own dj mix to drop knowledge of the sort that only comes from obsessive study of studio production and obsessive study of decades and decades of music. TPain as a streamer deserves props producing on stream as did Mike Shinoda, and also a little known guitarist named Bort that is irresistibly expressive. instagram has some amazing sound design nerds. also Omri Cohen is one of those youtube/patreon wizards that deserves props. and i haven't really touched on the jazz lecturers beyond Jens Larsen, but there is a lot of amazing stuff on youtube. Hal Galper and Barry Harris lectures.

Rest In Peace and Glory, Mr Harris, who recently passed after being a indescribable beacon of musical knowledge for almost a century. to call Harris a 'keeper of the torch' or an 'ambassador for jazz heritage' is just inadequate praise.

#props

[dimensionaldog]

James Holden ‎— The Idiots Are Winning (Full Album, 2006 || BORDER COMM…

#holy shit #jeskola buzz #james holden #the idiots are winning #2006 #trance #Minimal

[brbnightmares]

I did this in like 20 minutes about 5 years ago.

It's boing-boing zipper noises miming the Talking Heads song with an M.I.A. acapella on top. You big dummy.

#jeskola buzz #brb-me

[pevzi]

Just fooling around with Green Milk synth in Jeskola Buzz.

#jeskola buzz #mine #music #kinda #ambient #maybe