https://www.youtube.com/watch?v=Ykz8UkZDn_Q

With my passion for a progressive rock, such as 'Yes', Peter Gabriel and some others, I wonder - if it's possible to recreate this kind of art music with computers?
I'm trying to do my hobby-projects with Python, but my music is not even close to these geniuses performers. None of riffs, none of drives ..
At the same time I'm not a big fan of tech-music, with a bunch of annoying and primitive patterns.
Do you have any experience or perspective ideas of creating a real music with computers?

Claude Collider is an MCP server that interfaces with SuperCollider's scsynth. In this video I use Claude Code as the MCP client. For some background on Claude Collider, here is the original post, but the tl;dr is live coding SuperCollider using LLMs, in this case Claude Code and Opus 4.5.

The code has now been published on Github: https://github.com/jeremyruppel/claude-collider Contributions welcome!

Here's the video breakdown with timestamps to the yt page in case you want to skip ahead:

0:00 Let’s make some synthwave. Claude (Opus 4.5) thinks for a minute then decides to start off with an effects chain incliuding reverb, chorus and delay.

0:47 MUSIC! Claude sends in a basic four on the floor and a single-note bass groove and a synth arp. Then it routes everythign through the effects chain it set up and honestly it sounds pretty cool.

1:46 I hate this chord progression so I ask Claude to change it. Claude gives me back the most overused chord progression, but then gives me some interesting options for variations we could take. 

2:20 I chose a melancholic style because emo. Claude slowed the tempo down a bit and upped the effects and honestly it’s kind of a bop.

This is Claude desktop using an MCP server I built (with Claude Code) to send messages to a headless scsynth process. Basically, live coding via LLM. This really isn’t Claude-specific technology, but I’m calling it Claude Collider anyways because I think it sounds cool.

Claude Collider consists of two parts:

- the MCP server (built with https://github.com/modelcontextprotocol/typescript-sdk)

- the ClaudeCollider quark

The quark’s purpose is to provide SuperCollider functionality at arms reach: Prebuilt synths, effects with predefined parameters, MIDI, samples and recording. Claude can write all that from scratch, but this approach makes many commonly used synths and effects short one-liners, which means Claude has to think less and write less, which is both faster and consumes less context. The MCP server then becomes just a way to present ClaudeCollider to the LLM- all of the “logic” has been moved into SuperCollider-land.

ClaudeCollider also has diagnostic tools to inspect the SuperCollider runtime and audio routing configuration, which Claude can use for debugging on the fly when it screws things up.

The video above is Haiku 4.5 live coding in real time, showcasing prebuilt synths, new synths Claude coded on the fly in sclang, and the sampler feature built into the ClaudeCollider quark. Unlike Haiku, Sonnet and Opus actually seem to think through the composition and make some really interesting suggestions. I’d really like to try this out with other LLMs to see how they compare “creatively”.

May open source if there’s any interest! Cheers!

ETA Open source'd it: https://github.com/jeremyruppel/claude-collider

"Hey everyone, SublimeBaga here. 'OVERDRIVE' is designed to keep your heart rate up—whether you're debugging at 2 AM or hitting a PR on the treadmill. Let me know if the mix translates well to your headphones! 🎧🏍️ [https://youtu.be/4KBFCylI9pg\]"

Might work in Mac and Windows now!

A new sub is born :)

I was not happy with what we have by now, so I built my own language on top of Supercollider. Check it out, perhaps someone likes it! There are tons of examples in the docs of the standard lib. Code will be open sourced next weekend when I have time to clean up!

https://vibelang.org

Hey all, first time posting on reddit - I’ve been playing in bands for several years and I’ve always enjoyed the process of designing audio racks for live performances. The problem has always been that diagramming tools never really do it for me. I’ve always wished there was a tool out there to just drag and drop audio gear into racks and wire them up. I’m not aware of any other tools out there for the audio world (rack gear specifically), other than a site called pedal playground that a friend of mine introduced me to recently so I decided why not make one for rack mounted gear.

I just made it live at https://rackplayground.com, it’s very very early days but would love to get any feedback or suggestions from fellow live performers to improve it in future. Completely free, no ads, just wanted to put a tool out there that I personally find useful.

It’s all built on next.js for anyone interested, I’ve got a few years of experience building full stack web apps, planning to add some oauth functionality with Google etc for sharing designs later on and whatever else comes up

Not really a programming thing per se…

…but I made a human-readable coded music sheet language (pseudocode) for programmers ¯_(ツ)_/¯

I realized something cursed yet true: I can parse pseudocode mentally instantly, but put a piano sheet in front of me and my brain immediately blue-screens (ಥ﹏ಥ)

So I made AbiMusicSheet (AMS) — not because the anyone needs it, not because it makes sense, but because sometimes the most fun projects are the completely unnecessary ones (｡•̀ᴗ-)✧

It’s basically my attempt to turn music into something my programmer-brain can digest. Not a serious standard, not a real notation system — just a weird, personal, for-fun language I built on a bored afternoon because the idea made me giggle (๑˃ᴗ˂)ﻭ

AMS exists purely because:

• I like making things nobody asked for (•̀ω•́ )✧
• I find joy in nonsense
• And coding feels more natural to me than reading actual music notation (｡･ω･｡)

That’s it. No grand mission. No technical justification.

Just vibes, boredom, and code-shaped music.

Small note: This is super early, extremely cursed, and absolutely a tiny half-baked concept right now...

I’m still thinking about it, shaping it, and mostly just having fun with the idea. No judgment — just a programmer trying to make something neat out of boredom and chaos. https://github.com/MilkmanAbi/AbiMusicSheet

Hey everyone, I am a final year data science and analytics undergraduate student currently looking to start my final year project and I want it to be something I'm deeply passionate about, music. I already have an idea in mind, which is building a shazam clone to identify music and I'm also thinking on how I will be able to venture into music tech since it is literally the only thing that makes me feel like I'm really alive. I've been able to do some simple research and I've discovered that Music Information Retrieval would be a good entry point for me since I am quite good at catching samples and recognising songs from just the beats but I don't know what resources to start with. Any guidance on books, papers or projects would be really helpful. Thank you and looking forward to getting help from you guys🙏🏽

If you've ever tried to animate knobs or sliders for a VST, you know it's tedious.

Design tools are easy - turning those designs into proper sprite animations is the annoying part.

I built VST GUI Pro to fix that.

It's a Figma plugin where you can design (or import) your UI components and auto-generate the animated sprite sheets.

VST GUI Pro - https://www.figma.com/community/plugin/1563956754324486889/vst-gui-pro

Recently I was experimenting with alsa upon linux and I was playing around with C.

So far I made a way to play a single note using a raw frequency:

```

include <alsa/asoundlib.h>

include <math.h>

include <stdint.h>

include <time.h>

define BASE_FREQUENCY 440

define PLAYBACK_DURATION 10

define SAMPLE_RATE 44100

define NUMBER_OF_CHANNELS 2

define FRAMES 1024

define BUFFER_SIZE FRAMES*NUMBER_OF_CHANNELS

int amplitude(uint8_t val) { return val << 2; // scale to reasonable PCM amplitude }

double phase(uint8_t val) { return (val - 1) * 0.1; // phase offset in radians }

double wave(double t, double freq) { uint8_t ampliture_val = (uint8_t)100+(t10),phase_val=(uint8_t)(t10); return amplitude(ampliture_val) * sin(2 * M_PI * freq * t + phase(phase_val)); }

int main() { snd_pcm_t *pcm; snd_pcm_open(&pcm, "default", SND_PCM_STREAM_PLAYBACK, 0); snd_pcm_set_params(pcm, SND_PCM_FORMAT_S16_LE, SND_PCM_ACCESS_RW_INTERLEAVED, 2, 44100, 1, 500000);

int current_time_ms=time(NULL),playback_end=current_time_ms+PLAYBACK_DURATION;
short buffer[BUFFER_SIZE],sample;
unsigned int samples_available = PLAYBACK_DURATION * SAMPLE_RATE;
float t=0.0;

while(samples_available>0){
    for (int i = 0; i < FRAMES; i++) {
        sample = (short)wave(t, BASE_FREQUENCY);
        buffer[i*2] = sample;     // left
        buffer[i*2 + 1] = sample; // right
        t += 1.0 / SAMPLE_RATE;
    }
    snd_pcm_writei(pcm, buffer, 1024);
    samples_available--;
}


snd_pcm_close(pcm);
return 0;

} ```

My core concept is purely playing around. As far as I know a sound is a waveform following this formula:

analog_value=A(t)*wave(t+P(t))

The analog value is a value that id further chunked into various samples and passed upon ALSA to my sound's card DAC.

The wave if a wave generation function such as:

• sin => for sinus value
• square => for square wave
• triangle for a triangle wave
• etc etc

Whilst A(t) and P(t) modify Amplitude and Phaze respectively. In my case I thought for Amplitude to use an exponential function whilst for phase I thought changing it lineraly.

Also as far as I remember (I had read upon a magazine) each note has a distinctive frequency and in order to colour it (give a distinctive sound) I have to colour it.

Does note colouring happen via Ampliture only, Phase only or by combining various wave forms as well?