I'm studying for a masters degree @ the Royal Welsh College of Music and Drama, and have recently become a convert to pd.

I am curently getting material together for a presentaton and I just wanted to know what other people are using it to create. I'm writing an electro acoustic piece with audio and video at the mo.

Ceri

I am currently creating text based scores and completed a presentation in the style of a rolling text presentation.
Conrado

i'm gonna play a grindcore set in tokyo on saturday night!

Cool hardoff ! ! !

I've created a number of patches to improvise with. Music ranging from soundscape to more beat-oriented (think autechre, boards of canada, apparat, flanger...) stuff. I do this either alone or together with my (reaktor guru) mate under the Ziggy Electric flag.

Domien

I'm writing a book about synthetic games sound design which uses Pd to teach it.

Obiwannabe - Ive been pointed in the direction or your web site by my lecturer it looks cool what you do, how did you get into using pd for that?

Hard off and domain have you got any music that I can check out and see what you doing plus I don't think I've ever heard grindcord before sounds interesting

oh do you know if anyone is doing anything multimedia ish with pd

thanks for your help
Ceri

"how did you get into using pd for that?"

hmm, long story Part of a wider interest in open source tools for sound production I suppose, before that it was snd, nyquist, Csound and various special DSP chips. Pd is the first program that brings it all together in a very richly connected way and makes it easy to share, explain/teach and research with people at many levels on many platforms.Also, Pd is fast enough to use in the studio for real work.

ceri, check the output~ section of this forum, and 'feed your ears'.

HI CERI,
I've been working in netpd almost exclusively since Christams.
I find it has become the main tool for how I compose, think about music, interact, teach, perform.etc...........
Am I performing, or patching, or composing or are all three one and the same thing? These are the very issues that I have begun to ask myself as a computer musician.
Practically speaking, I am working on many things in pd from a qwerty theremin, to a self diffusing surround sound patch. I am currently designing a system of tilt sensors to allow for the performance of a tilt orchestra, where the bow of a cello or the baton of a conductor, the expressive appoggiaturae of flautists, or the stick of a percussionist can control synthesis parameters of the sound of the original acoustic instruments.
I have spent some time porting realtime composition library patches for live interactive use in netpd.
As part of my research I am composing and publishing a collection of patches to allow for live electroacoustic interaction anywhere in the world.
Hope you are well
kilshaw~

thanks everyone, I was just wondering how important the community around pd was to all of you as users, and why you like using something that is an open source piece of software - what benefits does it gve you as a composer. I know this is a bit rambly but Im really tired!! Thanks your all helping loads

Hi Ceri,

frankly the open source nature of pd really hasn't been the persuading factor for me to start
using it. For 7 years now, i've been making music with the computer, using FLStudio as my main
application (it's cheap, convenient and a Belgian product). Being a software developer professionally, i've always been looking at other environments (eg. Reaktor) to create my own instruments, generative beat machines, harmony creators,... But somehow Reaktor never did it for me, mainly because of the way control structures can be created. Last year i read a brief article on pd in sound on sound. That's when i realized i should try it out. Programming immediately felt
comfortable and i decided to give it a deeper go. So for the last 6 months it's been mainly pd for me (and hardly any fl anymore).

However, lately i've been giving it some serious thought to make the switch to max/msp, because
i've been suffering with latency issues. And because of the open source nature of pd, and apparently the way most patchers use pd, this doesn't seem to be an issue, and therefore not something that seems to be fixed in the nearby future.

One last thing, and i don't know if the open source nature of pd has to do with it, but the community surrounding pd seems a very nice one. Everyone how comes here is friendly and really helpful.

So cheers to you all guys and have fun,

Domien

Hey Ceri! Tristan here.

I created a work for solo piano and live tape part generated by PD. It's called takeover and can be found on my site www.tjevs.com. It uses an interactive cue system, and it's kind of human against machine, and about working together. The full scores on my site too, as well as a live recording. I'll upload it into the PD community very soon, but currently I am exploring the use of midi and live audio alongside live instruments, as well as creating full works within PD.

I'd only been using PD for 2 months when I wrote my takeover patch, and now im getting into more and more intense patches, for example developing my own quad speaker setup for future live performances, which can be controlled by just hitting switches.

Keep PD'in you guys!

Tris.

@domien said:

Cool hardoff ! ! !

I've created a number of patches to improvise with. Music ranging from soundscape to more beat-oriented (think autechre, boards of canada, apparat, flanger...) stuff.

Domien

Hi Domien,

I really like the kind of music you are mentioning! please share it (at least the audio!

BTW, this thread is interesting since it gives evidence of the number of
different approaches to PD... This is mine:

For me pd is, first of all, a learning tool of things I found interesting like digital synthesis,
composition methods and so on.. Its main strength is the *TOTAL* flexibility.
I found it after long time blind wandering in the desert lands of windoze sequencing and
VSTi approach to composing, which is, by its nature, limited...

regards,

Alberto

Hi Alberto,

Sorry I haven't relied to your post, Ive been eally busy with my degree work. Im inpressed to by pd's flexiblility, to begin with I found it very confussing though.

What kind of music are you writing with pd at the moment? And do you just use it for music or have you explored its other possiblities

thanks Ceri

I was also wondering how using PD had changed your compositional process. I has forced me to look at mine. Well Pd and my lecture as I was a bit stuck in my way. As I create electoacoustic music therewas a definate process of collecting sound then manipulating them and then creating a piece of music. Now I am composing in rea time and just having to make on the spot decisions. The patches that I use are like instruments really and I have to play them in an interesting fashion to produce music

I was wondering if using this kind of software had challenged anyone to change their working methods.

have any of you ever used net pd - sorry for all the questions just interested

Ceri

hey.ceri
This is a brilliant question. Pd has definitely changed my appreciation and engagement with the whole compositional process. If I'm honest, from someone who has been prolific in musical output in the way you describe for 15 years, I've almost stopped writing music since picking up pd. Its not even that I appreciate a new working method, but rather that is what excited me at the moment- more than musical output. That's kind of weird for me, but I don't resent it. I'm happy to be patching. That is composing for me. Ultra Modern new Music is about invention and new creations both in output and more importantly in technological advancements. New tools. New sounds. New unprescribed working methods. Always a challenge in the search to satiate the astonished ear.
kilshaw~

Oh and yes, netpd is definitely where the money is. Almost as addicted as Tristan?!!
kilshaw~

@Ceri said:

I was also wondering how using PD had changed your compositional process. ... The patches that I use are like instruments really and I have to play them in an interesting fashion to produce music. I was wondering if using this kind of software had challenged anyone to change their working methods.

Definitely. Nothing has changed my view of electronic music more than using Pd. Throwing out that whole false dichotomy of "sequencer and instruments" and working on sound producing objects with unlimited scope and subtlety of control is very liberating for a composer I guess.

Andy

obiwannabe, thanks for being so epful with all your postings you've been really helpful. and her coma few more Im really sorry I just trying to get a picture of how the program is developing and how its allowing the users to develope.

as well as you computer sound design do you write music, and what kind of music did you write before pd and is it different to what you write now.

I also have ben thinking about developers asnd users and what the differnece is between the two. Do you consider patching part of the compositional process or do you see it as an instrument to aid you creating the out come.

Thanks for all this you reallf have bee amaxzing

Definitely, if you are used to sequencers like Cubase, Sonar or Logic
you need to change the point of view. Someone was talking about
this as "horizontal composing". PD is *not* horizontal (nor vertical, like a "tracker", it's just a flow . Therefore if you are used to think about music in that way it will be a bit difficult at the beginning,
but then you'll have a vey useful swiff-knife in your audio arsenal. And yes, I also noticed
that some time ago I was writing more "songs", now I'm playing a lot with generative
processes and less "songs".. that's PD way I think!

cheers,

Alberto