Mesmerizing! Incredible that im finding this completely intelligible, the unity of this composition is something even boulez would have a hard time competing with!
I'm not the best at this shit either but I'd say go for methodical abstraction. there is a lot of encapsulation going on so these are probably devices that have been designed and get reused. that is a lot more collective patching time than if you tried to make something from scratch every time. it sounds better and eventually saves you time
Dude please I need some of your knowledge, how is the rhythm and percussion generated, as well as percussive glitch fills and stutters, acid sounds over the top, dude I want to know how so much! I wish I could pay you to be mentored!
The sound synthesis is not the hard part , I hear lot's of fm and standard subtractive synthesis . The hardest part is the actal coding of the whole structure
dude i love this, have been listening to your songs on spotify then randomly stumbled on this video. im new to pure data and max/msp. just curious, what are your thoughts on max vs pure data? any specific reason you chose pure data over max?
I don't have any particular reason for using PD, other than that it was free and I wanted to try something without paying for Max. PD is good for mobile or game development, but Max is a lot more complete.
What electronic artists inspire you? Would you ever consider making a tutorial video showing the basics of how you begin making a composition like this?
I don't really pay any attention to electronic music now, although I still like Nobukazu Takemura, Drexciya, Holger Hiller, Muslimgauze, and other stuff like Tomita and François Bayle. I'd like to make a tutorial video, but I realized that probably the only way to make it comprehensible is to stream the creation of an entire track from beginning to end. That's a big pain, and I don't really have the time for it.
This is truly incredible! What advantages does PD give you over hardware music? Your hardware recordings are really good too, but this has a level of complexity that I'm guessing you haven't found with hardware. Also, how much of this is actually composed, and how much is the computer just spitting out at random based on the parameters you've assigned? And, as a side note, I've often wondered whether Aphex Twin's album Syro was made in pure data, and not on the list of hardware in the cover. It has a very similar audio quality to it.
I like using PD because I can do a lot of sound synthesis stuff that's uncommon or nonexistent in hardware, and I can make it exactly the way I want it. Generally with hardware I tend to nitpick everything to death because it doesn't implement certain things the way I like (hence my preference for cheap stuff, because I'm more forgiving when it's $50 or $100). Plus in PD I can automate or randomize everything and do things that wouldn't be possible even with a very large modular. But I also do stuff with hardware that I can't do (or at least wouldn't be inclined to do) in PD. A few things are hardwired, like parts of the drum pattern, the just intonation scale and the development over time, but pretty much everything else is randomized. I also manually edited and mixed the outputs of a couple different patches. I think Syro is probably exactly what the gear list claims. You could surely do very similar sound design in PD, but it's not really suited to that kind of sequencing. I think Aphex used stuff like SuperCollider in the late 90s, but he's probably been using mostly hardware since Analord.
Hi acreil, I'm just a random dude on the internet who digs your channel quite a bit, and wants to experiment with odd scales and tunings. Is there a chance you'd up some simple building blocks for experimenting with, say 19-edo which I'm fascinatef by on patchbay.org or wherever, so we humble admirers and students may have a starting point?
Most of the stuff I do needs a powerful desktop to run. And in general I'm not that careful about making it work on PD Vanilla. With some changes, I'm sure parts of it could be made to run on the Organelle, but not the whole thing.
In addition to every other (true) comment, I'd add you should package your extractions into something similar to Autonomatonism... although I would understand if that felt like giving away your soul ;-). Keep up the good work.
I'm working on uploading patches now with most of the abstractions that I frequently use. But a lot of the things I do aren't really suitable for abstractions, much of it isn't particularly user friendly since I only made it for my own personal use, and I don't really want to maintain and support software releases.
@@acreil I understand, I love electronic music/sound design and am always meddling with different software (Bitwig, VCV Rack, PD, Max) but have mental health problems meaning I can never focus on one thing... its a burden. I'll keep buying your bandcamp releases and keep plugging away. Thanks for taking the time to respond.
Hi, could you make, or do you have, any sort of tutorial on how to work on something of this nature? I'd greatly appreciate it, and would love to help spread this resource aswell. Thank you.
I made a couple videos explaining patches, but I don't know if a tutorial is really a useful approach. I never really know where I'm going with something when I make a patch.
Excellent track. What do you mean when you say "a just intonation scale based on harmonics 40, 45, 50, 55, 60, 63 and 70. " - which frequencies would these correspond to ? Or is there a fundamental frequency that you used and serviced harmonic series from? cheer
Yeah, it's the same reverb727~ and earlyref~ abstractions that I made a few years ago and have been using on pretty much everything. I did develop a few other algorithms but never got them fully finished. And I find that these are good enough for most things.
The reverb was very loosely inspired by the Ursa Major SST-282 and Stargate 323/626. They all use multitap delays with a single, global feedback path. This is ordinarily a terrible idea because it's inherently unstable, so they use modulation to make a weird sounding reverb-like effect. The SST-282 modulates the delay taps and the Stargate models fade the delay taps in and out in a repeating pattern. I was experimenting with this idea and found that it worked better to both modulate the delay taps and fade them in and out. So from a weird idea I got a pretty nice sounding reverb (although it isn't efficient at all). I thought 727 would be the next logical name since Roland made the TR-626 and TR-727 drum machines.
Damn. I'd pay for tutorials made by you.
will u ever teach us?
You got your wish 2 years later :)
Mesmerizing! Incredible that im finding this completely intelligible, the unity of this composition is something even boulez would have a hard time competing with!
Lol. Boulez would have felt dissapointed at the repetetive rhythms.
I still don't know how you do this. Absolutely nuts. But also, I'd listen to a whole album of this.
This likely won't see proper release for some time, but I have a couple albums of similar material (acheiropoietic ansätze, aleatoric aubades).
@@acreil have you got Spotify? This shit is otherwordly
@@acreil I just found your Spotify. Did this particular song ever get released ?
@@dr.fritza959 Not yet, I'm going to focus on other releases so it's probably going to be a long wait.
@@acreil damn. Is it not possible to release on soumdcloud or as a single ?
please release this someday. it sounds incredible!
I've been playing with Max and PD for almost 3 years and I *still* don't understand how you manage to do this sort of thing
woodlandcritterpunch u have to see sound in your head first
I'm not the best at this shit either but I'd say go for methodical abstraction. there is a lot of encapsulation going on so these are probably devices that have been designed and get reused. that is a lot more collective patching time than if you tried to make something from scratch every time. it sounds better and eventually saves you time
Your stuff is insane, massive inspiration!
this is incredibly dope. like many other comments, would be exceedingly interested in a breakdown of some of the techniques in use!
Dude please I need some of your knowledge, how is the rhythm and percussion generated, as well as percussive glitch fills and stutters, acid sounds over the top, dude I want to know how so much! I wish I could pay you to be mentored!
samee
The sound synthesis is not the hard part , I hear lot's of fm and standard subtractive synthesis .
The hardest part is the actal coding of the whole structure
r u ok?
are youall alive?
Amazing Patch. love it!
this is so good
dude i love this, have been listening to your songs on spotify then randomly stumbled on this video. im new to pure data and max/msp. just curious, what are your thoughts on max vs pure data? any specific reason you chose pure data over max?
I don't have any particular reason for using PD, other than that it was free and I wanted to try something without paying for Max. PD is good for mobile or game development, but Max is a lot more complete.
holy shit! this is amazing
badassery
Omg this is so doooooope
What electronic artists inspire you? Would you ever consider making a tutorial video showing the basics of how you begin making a composition like this?
I don't really pay any attention to electronic music now, although I still like Nobukazu Takemura, Drexciya, Holger Hiller, Muslimgauze, and other stuff like Tomita and François Bayle. I'd like to make a tutorial video, but I realized that probably the only way to make it comprehensible is to stream the creation of an entire track from beginning to end. That's a big pain, and I don't really have the time for it.
@@acreil Sounds like people would pay for your time.
@@TheColourAwesomer I know I would.
Wow, just wow
This is truly incredible! What advantages does PD give you over hardware music? Your hardware recordings are really good too, but this has a level of complexity that I'm guessing you haven't found with hardware.
Also, how much of this is actually composed, and how much is the computer just spitting out at random based on the parameters you've assigned?
And, as a side note, I've often wondered whether Aphex Twin's album Syro was made in pure data, and not on the list of hardware in the cover. It has a very similar audio quality to it.
I like using PD because I can do a lot of sound synthesis stuff that's uncommon or nonexistent in hardware, and I can make it exactly the way I want it. Generally with hardware I tend to nitpick everything to death because it doesn't implement certain things the way I like (hence my preference for cheap stuff, because I'm more forgiving when it's $50 or $100). Plus in PD I can automate or randomize everything and do things that wouldn't be possible even with a very large modular. But I also do stuff with hardware that I can't do (or at least wouldn't be inclined to do) in PD.
A few things are hardwired, like parts of the drum pattern, the just intonation scale and the development over time, but pretty much everything else is randomized. I also manually edited and mixed the outputs of a couple different patches.
I think Syro is probably exactly what the gear list claims. You could surely do very similar sound design in PD, but it's not really suited to that kind of sequencing. I think Aphex used stuff like SuperCollider in the late 90s, but he's probably been using mostly hardware since Analord.
"It's free"
this is mental
Still waiting for this to be properly released :)
Homie this is a portal
Ooooh you use Purr-data now?
I've hardly used it so far, basically just making sure stuff works.
@@acreil what did you use before?
@@clarkflavor Pd-extended, but it's not being developed anymore.
Love it!
amazing
Brilliant
wicked
Hi acreil, I'm just a random dude on the internet who digs your channel quite a bit, and wants to experiment with odd scales and tunings.
Is there a chance you'd up some simple building blocks for experimenting with, say 19-edo which I'm fascinatef by on patchbay.org or wherever, so we humble admirers and students may have a starting point?
I'd like to do a tutorial stream kind of thing eventually, but I don't have the time right now.
would this patch run on the critter and guitari organelle? or would some tweaks have to be done in order for the patch to be usable?
Most of the stuff I do needs a powerful desktop to run. And in general I'm not that careful about making it work on PD Vanilla. With some changes, I'm sure parts of it could be made to run on the Organelle, but not the whole thing.
fucking glorious
Hi Acreil this is stunning. did you think to teach? or do some patreon lessons or something? Cheers from Argentina!
For now I'm too busy with work.
@@acreil What do you do for work?
@@clarkflavor electrical engineering
my guy
how and where i can learn make this kind of music?
This is dope!
wow
In addition to every other (true) comment, I'd add you should package your extractions into something similar to Autonomatonism... although I would understand if that felt like giving away your soul ;-). Keep up the good work.
I'm working on uploading patches now with most of the abstractions that I frequently use. But a lot of the things I do aren't really suitable for abstractions, much of it isn't particularly user friendly since I only made it for my own personal use, and I don't really want to maintain and support software releases.
@@acreil I understand, I love electronic music/sound design and am always meddling with different software (Bitwig, VCV Rack, PD, Max) but have mental health problems meaning I can never focus on one thing... its a burden. I'll keep buying your bandcamp releases and keep plugging away. Thanks for taking the time to respond.
Hi, could you make, or do you have, any sort of tutorial on how to work on something of this nature? I'd greatly appreciate it, and would love to help spread this resource aswell. Thank you.
I made a couple videos explaining patches, but I don't know if a tutorial is really a useful approach. I never really know where I'm going with something when I make a patch.
Sometimes it reminds me of Gong and mouse on Mars combined
Excellent track. What do you mean when you say "a just intonation scale based on harmonics 40, 45, 50, 55, 60, 63 and 70. " - which frequencies would these correspond to ? Or is there a fundamental frequency that you used and serviced harmonic series from? cheer
The pitches of the chord are 400, 450, 500, 550, 600, 630 and 700 Hz.
Sounds like something cEvin key would make
Is it all pure synthesis?
Other than the mangled speech parts, yeah.
It's exactly like a real place, except it's ridiculous
even reverb is pure data?
yep
acreil mmhh. so, you haven’t used any external? you develop it yourself?
Yeah, it's the same reverb727~ and earlyref~ abstractions that I made a few years ago and have been using on pretty much everything. I did develop a few other algorithms but never got them fully finished. And I find that these are good enough for most things.
Hi @@acreil, wonderful execution.BTW; why did you call the reverb "727~"?
The reverb was very loosely inspired by the Ursa Major SST-282 and Stargate 323/626. They all use multitap delays with a single, global feedback path. This is ordinarily a terrible idea because it's inherently unstable, so they use modulation to make a weird sounding reverb-like effect. The SST-282 modulates the delay taps and the Stargate models fade the delay taps in and out in a repeating pattern. I was experimenting with this idea and found that it worked better to both modulate the delay taps and fade them in and out. So from a weird idea I got a pretty nice sounding reverb (although it isn't efficient at all). I thought 727 would be the next logical name since Roland made the TR-626 and TR-727 drum machines.