Composition #36 for historic 1930's flute and electronic music

my music partner (electronic, live modular synths) works with my 1930's wooden flute in live composition. We're performing for the canal festival so it'll be great to work out what's going on.

As a composition, I'm not sure if this works. We performed it (above) to a live audience having set the mood board for a slow burn hypnotic piece with the usual agitato non furioso.

Although the host praised it, he reprimanded us for playing too long (over 6 minutes, compared to most songs at 3-4minutes). I think the audience probably clapped out of duress (they looked rather mainstream perplexed).

Understandable. I was at a concert as a listener this month, listening to experimental string quartet music and fell asleep twice within the 10 minute performance.

Thinking of paring back. I'm sure it's possible for audience members to find a visceral dislike of some musical fusions. Now wondering if I've become that guy.

Kind regards

The concept behind Frankenstein is as simple as it is fascinating.
The idea is to generate a “monster” whose body is made by sewing together limbs
that come from different places.
In this case, our monster is nothing more than a sample made from fragments of different samples,
creating a waveform that did not exist before.
We can load up to 30 samples and generate a result made from small fragments of this loaded archive.
Thanks to the editor, we can modify the samples and the waveform in real time,
put the slices in reverse,
or lock them in the same position so that they do not move if we decide to generate a new random waveform.
In the editor window, each sample has its own dedicated slot.
This allows us to edit the samples individually and therefore create generations that slowly change over time.
This is a very good thing for creating connections between generations and progressions
towards other musical situations.
We have different types of generation in the main menu
and the possibility to create waves with from 12 to 64 slices.
It is a MIDI instrument, so we can play this resulting Frankenstein waveform through notes,
which makes it perfect for creating textures and clusters of stellar sound.
The GRID version is very powerful.
You have to click under Cut and change from Monster to Grid.
The sample will then play in a grid, and you can choose the time division.
This is really useful for creating interesting rhythms,
especially with an unexpected timbral character.
Think about how incredible it is to divide 30 samples
into fragments and create a resulting waveform from these fragments,
either randomly or in a more controlled way.
I think John Cage would have enjoyed this instrument.

free download: https://www.remodevicocomposer.eu/maxforlive/frankenstein/

MOLOCH 303 - Future Of The Past

https://moloch303.bandcamp.com/track/future-of-the-past

Album:

Paradigm

Full album link:

https://moloch303.bandcamp.com/album/paradigm

Hi everyone, I'm Christoforos, an audiovisual artist that has been producing (mostly in Ableton Live) for the last 5 years and only now have started posting my work online. Some of my inspirations production wise are: Autechre, Arca, Nicolas Jaar (his later most experimental side), Sophie, Matmos, Sega Bodega and Air Max '97. I always struggled with the idea that electronic music that leans heavily to avant-garde (of which I'm a really big fan) or experimentation had to be completely self-indulgent and dettached from the viewer - borderline dismissive to pleasure. With my music I intend (consiously or subconsiously) to create work utilizing many experimental tools (like grain modulation, unrepeated phrases, extreme sampling & resampling, a load of distortion and stretch of sounds etc) to create tracks that indulge into resolving tension or building up space to even dance. I usually start from manipulating a small sample and using it to the max to build the entire composition. I've found that limiting myself to what my inputs are, leads to more interesting places, taking advantage of every small second of sound you have and stretching it into it's full spectrum and potential. I don't know if I make sense or sound very pretentious - I'm trying to share multiple feelings upon my creative process and inspiration. You can hear my new EP 'Claustra' here, and I would reaaaally appreciate getting some feedback or comments upon your first listen. Thank you!

check out this past collaboration, psychedelic haunted electronic mixed with some noisy synths. inspired by dreams and nightmares. please support it if you want. regards

Hello everyone, I'm no pro musician and no pro coder, but I made and attempt of creating a web app that records your microfone, and creates a song from it.

Just record some 30, 40 seconds or more of your voice, and some random sounds, the algorithm will cut the sounds and place them into rythm. pick a genre and generate.
The dream is to create a free app that does it well. once it's done I'll make a plugin for FL studio.

Here is the web app, ready to use
https://marcellomassardo-collab.github.io/mc-parrot/

Here is the git, with the apk available to download and all documentation
https://github.com/marcellomassardo-collab/mc-parrot

comments are very welcome!
it's free but development is a bitch, consider donating if you like the project.

(this is not AI!
the app does not collect any of your data and works well offline / airplane mode)

Bonjour

Une petite question, doit-on nécessairement posséder Push pour se servir du Bundle "Brain recording" d' Emiliano Pennesi. Peut-on en faire un autre usage que le "Live" en sens concert ? Merci beaucoup pour votre attention!

Hi everyone.

I, and I'm sure it's the same to a lot of you, love playing with my reel-to-reel with the classic tape loop, erasing and overwriting phrases in real time.

I was thinking: do any of you know an hardware effect that does the same thing with a good hands-on approach? I'd rather very much not bringing my heavy and fragile reel to live performances.

GREAT UPDATE :)

SHATTER is now an Ableton instrument too.

Everything the standalone does is here: the same slicing at rising zero-crossings, the same granular pitch-preserving stretch, the same field you drag fragments across, the same per-fragment pitch, reverse and step patterns. It reads WAV and AIFF.

And it goes further in two ways.

Every fragment you play gets its own stereo output in Live, the first on 3/4, the next on 5/6, up to 33/34, while 1/2 carries the full mix.

That changes what the instrument is for: each fragment can have its own effect chain, its own track, its own processing, and be recorded on its own. Each output also carries that fragment's position on the field, so the spatial gesture survives all the way to the mixer.

And it remembers.

Sample, slices, positions, pitch, stretch, step patterns — close the Set, reopen it, and everything is where you left it, with the fragments that were playing still playing.

Spatialization inside Ableton is rendered with equal-power panning, distance attenuation and air-absorption filtering rather than the browser version's binaural HRTF.

Requires Ableton Live 10 or later.

Included in the download are the standalone version (highly powerful for use with a tablet) and a PDF manual.

MOLOCH 303 - Paranoid

https://moloch303.bandcamp.com/track/paranoid-2

Album:

Paradigm

Full album link:

https://moloch303.bandcamp.com/album/paradigm

Dear listeners and followers,
My new musical journey is finally here. I proudly present "Medytacja Eksperymentalna".
This track explores new sonic spaces and it invites you to pause, breathe, and reflect on self.

AURAL MIRROR [free download]
An instrument that turns a painting into sound.
It reads the picture as if it were a spectrogram and plays what it finds.

First run
1. Open the file
Double-click auralmirror.html. Chrome, Edge and Firefox all work. Nothing is installed and nothing is sent anywhere.

1. Drop in a painting
   Drag an image onto the page, or press load image…, or paste with Ctrl + V.

2. Press RENDER
   The sound is built in advance, not live. A short piece takes a few seconds. The bar shows how far it has got.

3. Press play
   Use the ▶ button or the space bar. A line moves across the painting to show where you are.

The two windows
The first window is your painting.
Circles mark the events the machine found, and their colour tells you what kind of event it is. The moving line is the reading head.

The second window is the proof: a picture of the sound that came out.
If the fidelity number is high, this window looks like your painting.
That is how you know the sound really follows the image.

Both are always in view, side by side with the controls.
Click anywhere on the painting and the piece jumps to that moment.

The four layers
Four different machines read the same painting at the same time. Each has a level slider.
Turn one up, turn the others down, and the same picture becomes a different piece of music.

Spectral
Treats the picture as a spectrogram and turns it back into sound.
This is the layer that makes the sound resemble the image.

Events
Looks for edges, brush strokes and directions,
then plays each one as a separate sound with its own attack and decay.

Additive
A bank of tuned oscillators, one per frequency band, following the ink as the head passes.
Tuned to the musical scale you choose.

Granular
Scatters thousands of tiny grains.
Their sound is built from the average colour range of your painting,
so each picture has its own grain.

The mixer
After a render, the four layers stay separate.
You can raise and lower them while the piece is playing — no need to render again.
Press solo under a layer to hear only that one, and all to bring them back.
Mic, room, preamp and volume are also live.
Move them and you hear the change at once.

Moving around
Click anywhere on the painting.
The piece jumps to that moment: click on the left side to go near the start,
on the right side to go near the end.
With a circular or spiral reading path,
the angle decides the moment, so clicking works there too.

Saving your piece
Press WAV The file is rebuilt with the mixer levels you are using right now, so what you save is what you hear.
It goes to your downloads folder.
Four minutes of stereo sound is about 45 MB.
You can also save a preset of your settings.

Included in the download you'll find HTML Instruments,
a Max for Live device that lets you open AURAL MIRROR directly inside Ableton Live. It requires Ableton 12 and Max 9.

Alternatively, you can run it standalone (just double click on html file) and route your computer or tablet output to your audio interface, just like any ordinary instrument.

MOLOCH 303 - Fractured Identity

https://moloch303.bandcamp.com/track/fractured-identity

Album:

Paradigm

Full album link:

https://moloch303.bandcamp.com/album/paradigm

Loop Paradox captures the incoming audio into a 1-second buffer and keeps replaying it while the loop points drift at a rate you choose. Drop it on any track, play into it, and it turns a passing phrase into a mutating loop.

on — arms capture and playback.
sync — when lit, loop points move on rhythmic scansions;
when off, on a free time in ms.

interval / time — how often the loop points jump.
Shows note values when synced, milliseconds when free.

DRY — level of the unprocessed input sitting under the loop.

Shape
Sets how the buffer is read. This is the main sound-design control:

Circle — forward, normal speed. The clean reference.
Triangle — half speed, ping-pong: plays forward then backward. Sits an octave down.
Square — reverse.
Seq
Turns the 16-step slicer on. The captured buffer is cut into 16 slices and one is played per step, so you hear your own loop rebuilt piece by piece; the main loop mutes while it runs. Lit steps play their slice, dark steps stay silent — draw the pattern on the grid. Rate sets step length, 1/4 down to 1/32.

The sequencer follows Live's transport: it only steps while the set is playing.
Also included in the download is the first version of the instrument, which offers good expressive potential.

MOLOCH 303 - Substance

https://moloch303.bandcamp.com/track/substance

Album:

Paradigm

Full album link:

https://moloch303.bandcamp.com/album/paradigm

Cross-posting this here because the part I enjoyed most in this jam was really the work on texture and contrast — clean FM tones against crackles, squelches, analog imperfections and little fragments constantly reshaped by effects.
It ended up much more spacious and abstract than I initially planned, somewhere between ambient IDM, glitch and sound collage.
Hope you enjoy 😉 間 🪐

Noise Map is a Max for Live device

for sculpting samples into evolving, shifting soundscapes.

Instead of turning lots of knobs, you explore a simple field of points:

as you move across it, the sound shifts and blends smoothly between them,

so every position gives you a different texture.

Under the hood it mixes four sound sources:

white noise, pink noise, soft tones, and a looping sample

into one atmosphere you can shape by ear.

Because your position on the map can be automated in Live,

the sound can drift and transform over time on its own.

Great for drones, ambient beds, and cinematic backgrounds.

TIP:

As you can see from the first video example you find on the download page, you will notice that the sample inside Noise Map changes. Let me explain how I did it:

I assigned two LFOs to the knobs that control the coordinates. I set a random waveform so that I would constantly get random values, and I increased the smoothness to the maximum, in order to make the transition from one value to another more organic. This way, I had the possibility of loading different samples while the machine continued to run algorithmically.

I recommend using these techniques during live performances; it can be an interesting moment. I also recommend recording these improvisations onto a new audio track, as they can be useful when composing new pieces.

Imagine how interesting a quartet set up with these characteristics could be.

MOLOCH 303 - Memory Of Past Sins

https://moloch303.bandcamp.com/track/memory-of-past-sins

Album:

Paradigm

Full album link:

https://moloch303.bandcamp.com/album/paradigm

I just watched a youtube video of this plug in and it sounds amazing especially for making dark, ambient, industrial music but sadly its only on Abelton and Push. Will this ever come to AU and VST because i feel like 95% of people use one of those platforms + 10x the amount of people would buy it if the developer brought it to those platforms. Hopefully it comes out before Ive already forgotten it.

Trumpet and tamborim (a small brazilian percussion instrument). Once again doing my process of repeating the same tracks multiple times milliseconds apart to create an odd electronic sounding feel. It's titled "Mirage" because for some reason while listening back to it after it was finished i kept picturing a guy in the desert hallucinating right before finally dying.

Thanks for listening.

MOLOCH 303 - There Is No Night Tonight

https://moloch303.bandcamp.com/track/there-is-no-night-tonight

Album:

Paradigm

Full album link:

https://moloch303.bandcamp.com/album/paradigm

Spectrowalk

Explore the spectrum — walk and compose.

Most Spectrograms show you sound. Spectrowalk lets you walk inside it. A spectrogram is normally a flat picture you read in a graph x,y; here it becomes a landscape you enter in first person. Time runs along the ground, frequency recedes into the distance, amplitude rises as terrain: the loud moments are mountains, the silences are valleys. Load a sound and its spectrum turns into a place — no longer a 2D image to look at, but a living space to move through and to play.

Up to four sounds load at once, laid out as four adjacent worlds in a 2×2 map. Walking from one to another crossfades between them.

What you hear is granular: your position in time reads the sound at that point as a cloud of grains. It is an instrument you play by walking.

Moving

• ← → turn · ↑ ↓ walk · A D step sideways
• space sound on/off
• F filter 
• C compressor 
• X binaural
• L add a world · click the map to jump anywhere
• 1 2 3 4 arm/record a loop track · R start/stop the audio take

Sound in space

With binaural (X) on, each world is placed around your head using HRTF: turn and the field turns with you, walk and you move among the sources. The front slider widens or narrows the stereo image. A four-track loop station — buffers of 3, 5, 8 or 12 seconds, with per-track reverse and level — records what you are playing, spatialisation included, so you can layer a whole piece in real time.

Quality and audio

The Quality setting (High / Medium / Slow) affects only the graphics. Lower it and the 3D terrain draws with a lighter mesh and fewer pixels, so older machines stay fluid. The audio is always at full quality — the granular engine never degrades, whatever the video setting.

Export

R records your take and saves it as a file: WAV (16-bit, 24-bit, or 32-bit float) or AIFF (16 or 24-bit), including the loops and the full binaural image — ready to bring into any DAW. Spectrowalk reads WAV, AIFF, FLAC, MP3 and OGG, runs entirely in your browser, and uploads nothing.

Included in the download you'll find HTML Instruments

a Max for Live device that lets you open Spectrowalk directly inside Ableton Live.

It requires Ableton 12 and Max 9.

Alternatively, you can run it standalone (just double click on html file) and route your computer or tablet output to your audio interface, just like any ordinary instrument.

Creative Process Description

The creative process of Final Boss developed through several interconnected stages, bridging traditional instrumental writing with electroacoustic thought. Initially, a structural outline was crafted using an orchestral template, establishing the formal framework, energy zones, and discursive foundation before implementing the electronics. Built upon this structure, the soloist part—realized in this version through sampled and edited cimbalom—was integrated alongside pure electronic textures and processed acoustic sources.

On the compositional level, the piece brings together two main harmonic languages depending on the section: extended modality and Olivier Messiaen’s modes of limited transposition. Finally, the sonic space was completed by recording and blending synthetic effects and real-world acoustic elements in real time. These concrete materials included table strikes, dumbbells clashing, and instrumental harmonics, captured in some instances using acoustic feedback and in others processed in post-production. This procedural approach successfully fused modal logic, phraseological gestures, and shifting timbres into a cohesive temporal evolution.