Sous le feu des critiques: Trop moderne! Pas assez subversive aux yeux de certains! Pas créative! Un effet de mode passager pour les "djeunz"! Ou pire une musique de drogués!! Permettez moi au cours de cette session de vous éclairer sur cette culture et également sur les coulisses de la création des musiques assistées par ordinateur (MAO), et de voir ensemble les relations intéressantes que l'on peut tisser avec nos pratiques du développement logiciel (Software Craftsmanship). On a pu lire quelques analogies entre pratique des musiques jazz, somme toute une musique très classique, et la pratique du développement logiciel tel que nous la concevons tous ici ("agile" diront certain). Pourtant il y a bien des façons de faire de la musique et en tant que spécialistes de la programmation j'ai été étonné de constater que peu d'entre nous s’intéressent à la musique dite "électronique". Pourtant, dans ces musiques aussi, nous nous servons d'outils logiciels au service de notre inspiration et notre créativité. On retrouve l'approche incrémentale, la technique imposée par les machines, des patterns évidemment, mais aussi de la pratique répétée, de l'amélioration continue et la coopération quand nous formons des groupes collaboratifs. Au cours de cette session, après les généralités d'usage, je vous montrerai un DAW (digital audio workstation) logiciel, très couramment employé, et pas que pour la musique électronique, j'ai nommé "Live 9" d'Ableton avec sa surface de contrôle dédiée: Push (une sorte de clavier multi-fonctions pour la musique). Live est également extensible grâce à Max MSP, une API de programmation qui permet de scripter/patcher ce logiciel sous bien des formes. J'espère vous montrer que création et programmation ne sont pas si éloignés que cela... et vous ferai partager mon expérience au sein de la Do It Yourself Music Academy

1. A developer’s journey into
Electronic Music
Crafting Software & Electronic Music

2. Who am I ?

3. What is Electronic Music?
• Electronic music is music that employs electronic
musical instruments and electronic music
technology in its production.
• Today electronic music includes many varieties and
ranges from experimental art music to popular
forms such as electronic dance music.
http://en.wikipedia.org/wiki/Electronic_music

4. What is Electronic Music?
• Electronic music is music that employs electronic
musical instruments and electronic music
technology in its production.
• Today electronic music includes many varieties and
ranges from experimental art music to popular
forms such as electronic dance music.
http://en.wikipedia.org/wiki/Electronic_music

5. • Electric Instruments (1930s):
• Theremin
• Ondes Martenot
• Trautonium
Origin of Electronic Music

6. • Electric Instruments (1930s):
• Theremin
• Ondes Martenot
• Trautonium
Origin of Electronic Music

7. • Electric Instruments (1930s):
• Theremin
• Ondes Martenot
• Trautonium
Origin of Electronic Music

8. • Electric Instruments (1930s):
• Theremin
• Ondes Martenot
• Trautonium
Origin of Electronic Music

9. Chronology
• 1948: musique concrète & électro-acoustique (Shaeffer/
Henry/Boulez)
• In his 1949 thesis Elektronische Klangerzeugung, Meyer-Eppler
conceived the idea to synthesize music entirely from electronically
produced signals
• In the late 1960s, pop and rock musicians, including The Beach
Boys and The Beatles, began to use electronic instruments, like
the Theremin and Mellotron,
• Released in 1970 by Moog Music the Mini-Moog became the most
widely used synthesizer in both popular and electronic art music.
(Herbie Hancock / Tangerine Dreams / Floyd / Jarre / Moroder /
Cerrone …)
• The early 1980s saw the rise of bass synthesizers, the most
influential being the Roland TB-303, a bass synthesizer
and sequencer released in late 1981 that later became a fixture
in electronic dance music,[86] particularly acid house . It’s also the
arrival of digital samplers and drums machines.
source: Wikipedia

10. Electronic Music Making
& Software Programming
Culture and Similarities

11. Electronic Music Making
& Software Programming
Culture and Similarities

12. Pioneers

13. Pioneers

14. 1st computer

15. 1st analog synth (24 poly)

16. Fame & Money

18. Popular computer

19. Popular Synth

20. Gurus: 2 uncles Bob
!
!
!
!
!
!
• ...Martin

21. The synthesis of sound
Fundamentals explained by Bob Moog

22. The synthesis of sound
Fundamentals explained by Bob Moog

23. Electronic music tooling
• Analog/Modular Synthetizers
• FM Synthetizers
• Drums Machines
• Samplers
• Sequencers / DAW
• Digital Synth / VST / Digital Emulation

24. Digital Audio Workstation
Ableton Live 9

25. IDE / DAW
• Write code
• Sequence
• Refactor
• Bind
• Build
• Output
• Compose
• Sequence
• Arrange
• Mix
• Preview
• Render

26. Let’s see it … in Live!

27. Sequencer

28. Let’s see it … in Live!

29. Drum Machines

30. It’s about Patterns

31. Let’s see it … in Live!

32. Sampler

33. Automating the Copy

34. Let’s see it … in Live!

35. Sampling is Art?

36. Digital Synths / VSTs
• Virtual Studio Technology
• Plug-ins
• Modularity
• Composition

37. Let’s see it … in Live!

38. Libraries <> Frameworks
• Tools to be more productive

40. Let’s see it … in Live!

41. Crafting and Creating
• Similarities in Techniques and Practices

42. Fundamental Code

43. Some help to write it?
• Snippet?
!
• Patterns?
!
• Scaffholding?
!
• Scripting?
!
• AOP?
! Arpegiator?
!
! Patterns?
!
! Presets?
!
! Automation?
!
! Patches?

44. Programming vs E-Music
• Composing / Finding Patterns
• Sound synthesis (Modern
Luthery) *
• Sampling *
• Assembling (Digital Audio
Workstation)
• Applying Effects / Shaping
• Mastering
• Distributing
• Playing / Performing
• Understanding
• Culture
• Design
• Code
• Test
• Refactoring
• Patterns
• Deliver
• Quality

45. Highly skilled
• We know our instruments
• We know the electronic culture and sub culture
• Reference to the “Standards”
• Modern Luthery
• Chord structure
• Groove
• Rythms
• Sound Processing
• Mixing
• Mastering

46. Specialized
Subject experts - Aim to master main instrument
But we understand each others instruments
Diverse backgrounds
Defined roles
No one Leader
People/Role interchange

47. IT Protocols

48. Music Protocol
• Musical Instrument Digital Interface

49. Programming Languages

50. Popular Languages

51. Programming Music
the Pure Data language

52. Graphical Programming
https://www.ableton.com/en/blog/build-max-live-device-beginner-tutorials-point-blank/

53. Graphical Programming
http://en.flossmanuals.net/pure-data/introduction/graphical-programming/

54. Let’s see it … Live!

55. Drawback
• Terrible lack of abstraction :(

57. Parametrizable tools

59. Max 4 Live / MSP / Jitter
MORE ON http://www.cycling74.com/docs/max5/vignettes/intro/docintro.html

60. SuperCollider
• an Open Source programmable audio engine
http://www.audiosynth.com/

61. A new kind of Luthery
• Re-invent your own instruments
!
• Discover new sounds
!
• Explore infinite combinations
!
• Crafting musical computers for new musics'
performance and improvisation
http://goo.gl/nyb38q
http://goo.gl/zL6yj1

62. Communities
• http://overtone.github.io/

63. Communities
• Agile
• Koding Dojos
• Conferences
! DIY
! Live Jams
! Rencontres
http://www.les-siestes-electroniques.com/Rencontres-Futurism

64. The DIY Music Academy
A desire to share knowledge
…
… a band playing « live
jams »

65. Playing in Band / Live Jam
• Team
• Self organisation
• Increase connexions
• Learn from mistakes
• Requires Creativity
• Requires Vision
• Anticipates
• Need practice (a lot)
• Flexibility
http://fr.slideshare.net/SUGSA/agile-the-jazz-manifesto
!Improvisation
!Accept changes
!Express ourselves
!Challenge ourselves
!Build on other’s ideas
!Keep musical references
!Incremental performance
!Need rehearsal (a lot!)
!Adapt to the audience
• Pair Progamming !Famous Duos

66. Coordination in Collaboration
• Play together to achieve a common goal
• Rehearsals / Continuous Improvement
• Emerging conception
• Tools for Coordinate and collaborate
• No « chef d’orchestre », only synchronization
• Self directed team
• Group creativity

67. Are we on TDD?
• Objective Goals
• Test first
• We practice
• We deliver
! Subjective matter
! We play first
! We practice
! We release

68. A matter of Styles
• Automates
• Imperative progr.
• Procedural
• Object Oriented
• Declarative
• Functionnal
• Data Oriented
• ElectroAcoustic
• Concrete music
• Stochastic music
• Modernism
• Techno/House
• Ambient/ NewAge
• Drum & Bass /
Jungle
• Trance , Hardcore ,
Electro , Nudisco
….

69. Soooo many styles
http://goo.gl/I6rPK

70. The importance of Remixes
• Constant Evolution of a Work
• Open it to others
• Let the others refactor or re-interpret
• Open Contests
• The art of reusing

71. The art of DJing
• Assembling music / cut-n-paste
• Making artwork build with others
• Is the DJ a musician?
• He is skilled?
• Is he a real author?
• Author and copy rights?
• The status of the DJ

72. Help! Everyone is a dj…

73. Can everyone be a (good) developper?

75. Do I have to feel bad ?
• IF I DO ELECTRONIC MUSIC
• it’s « Dance » Music
• A music for leisure
• Played at night in dark places
• It’s an industry
• Needs good crafters
• IF I AM A GAME DEVELOPER
• it’s for Gaming and Kids
• A product for Entertainment
• Played at night in dark rooms
• It’s an industry
• Needs good developers

76. Old practices

77. Best pratices?

78. Agile?

79. 4ème édition parisienne tous les dimanches après-midis
du mois de juillet : les 6, 13, 20 et 27 juillet 2014, de 16 à
18h. - http://www.les-siestes-electroniques.com/