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by Optimal_Persona
2272 days ago
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You make some good points...sonically, out of all the visual node-based and text-based audio DSP environments, only Native Instruments' Reaktor has a reputation for DSP sound quality rivaling commercial software instruments/effects. Worth noting that Reaktor is itself a commercial AU/VST/standalone instrument/effect. As a resident of both Davis and Berkeley, CA I've heard a lot of stiff academic music made in Max/MSP on UC campuses, though I'd say UC Davis' Bob Ostertag is the notable exception - really compelling stuff - but that's because he's using at as an expressive musical instrument. But still, these environments hopefully provide a DSL/interace that abstracts away some of the complexity of bare-metal C or C++ code; and non-PhDs like Autechre, Squarepusher, Aphex Twin, BT, Leafcutter John and Christopher Willits have made great-sounding things with them. And these tools are often used by professional audio developers to quickly prototype DSP algorithms. |
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https://en.wikipedia.org/wiki/John_Bischoff_(musician)
https://www.johnbischoff.com/
Lots of amazing interviews with amazing people here:
https://econtact.ca/12_2/interviews_golden.html
John Bischoff
https://econtact.ca/12_2/audio/JohnBischoff.mp3
By now, one of the West Coast biggies, actually, make that international, he’s at the level where he’s thought of as one of the masters, though he is very mild-mannered and modest. In the 70s he formed League of Automatic Music Composers, one of the first computer music network bands, along with Jim Horton, Rich Gold, Tim Perkis. They would use Kim computers and plenty of homemade code and software (and get roasted in the newspapers by the critics especially during New Music America 1981, they were mocked unmercifully, but water off a duck’s back). Who’s laughing now, eh? [November 1988, dur. 11:24]
Laurie Anderson
https://econtact.ca/12_2/audio/LaurieAnderson.mp3
Probably one of the most famous of all our EA people, who successfully bridged the gap between the avant-garde and the “in the know” mainstream.” Even in the early 80s she packed the Mills College Concert Hall, with her violin, millions of “toys” including vibrators, plenty of digital delay and thrilled us all. A sidebar: when I was interviewing Laurie at The Phoenix Motel in San Francisco, a guy came into the room, she told him to introduce himself to Barbara, and he extended his hand and said: “Hello, I am Wim Wenders”… [17 February 1990, dur. 29:00]