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    • CommentAuthoradmin
    • CommentTimeMar 25th 2007 edited
    A. Hacke pointed me to Methasynth, which appears to be a very cool tool. It's interesting how the same kind of ideas can materialize in completely different tools.

    Coagula is perhaps more toyish, but definitely fun too.
    • CommentAuthorthbb
    • CommentTimeMar 26th 2007
    Iannix is the "official" successor of UPIC. I downloaded it, but honestly, couldn't produce anything with the current version.
    • CommentAuthorthbb
    • CommentTimeMar 28th 2007 edited
    A tool quite similar to Coagula: Lauri's Synesthesia Music. For MacOSX, there is also HyperUpic (and a newer, quite usable version at macmusic), by Christophe Penrose. It is quite difficult to control, but interesting.

    The base principle of all these programs consists in doing an inverse Fourier transform on the image as if it was the spectrogram of a sound file, so, in the end, the synthesis algorithm is quite different than HighC and UPIC.
    • CommentAuthorcoduys
    • CommentTimeApr 26th 2007
    A small precision relating to IanniX, which you can read in the Readme :

    IANNIX ALONE DO NOT PRODUCE ANY SOUND !! It only sends and receives UDP OSC Messages !

    Thierry Coduys
    • CommentAuthoradmin
    • CommentTimeJun 7th 2007
    The vOICe interactive visual sound applet is another of those applet that interprets an image as a sound by doing some kind of inverse Fourier transform.

    While all those (Coagula, Hyperupic and to some extent, Metasynth) bitmap-based applications are kind of cool, I find they are more curiosities than actual usable tools:

    • First, the "synesthesia" they rely on is actually a misnomer. The perceptual experience derived from the computed sound has little to do with the perceptual experience of the image.
    • Second, I think (but may be wrong), that creating music involves managing some kind of symbolic system. Creating symbols, arranging them, reproducing them with variations... A bitmap-based system does not provide symbols to manipulate.
    Along similar lines to Coagula is Audiopaint:

    It's a lot more limited. The maximum composition length is sixty seconds, and there are no drawing tools at all, you absolutely have to import pictures. It's interesting to make a screenshot of a HighC composition and then import it into Audiopaint. The result is like a mutant version of the original (with a beat, because of HighC's grid pattern).

    On the other hand, you can use samples as a sound source, in addition to sine waves, which is something that Coagula doesn't do, as far as I know.
    I recently tested IanniX with the Chuck SWSS language. I ran the examples, they worked perfectly. IanniX is quite a different creature than HighC, but it looks like it could be a lot of fun.
    • CommentAuthormazzola
    • CommentTimeApr 17th 2009
    have you ever seen the graphical composition software presto (for atari), does a lot of nice things and all affine transformations on pitch, onset, duration, and loudness. go to, the theory is docmented in my book "The Topos of Music", Birkhaeuser 2002, Basel-Boston, best regards Guerino Mazzola
    • CommentAuthoradmin
    • CommentTimeApr 18th 2009
    Thanks a lot for your pointer, Mazzola. This is indeed an interesting tool. Too bad it works only on ATARI.

    I have been considering allowing MIDI scoring with HighC. The issue is that you're limited in the types of notes you can output: no long glissandi, and little dynamic control. Still, one good thing would be the ability to use sound fonts to enrich the timbre space.

    Do you have any plans for developing it for PC? Do you see features in your Presto that could be useful to put in HighC?
    • CommentAuthormazzola
    • CommentTimeApr 18th 2009
    Dear Thomas,
    we have developed some of presto's features in the open source music java-based environment Rubato (see and are presently merging discrete and continuous parameters (like glissando as the continuous satellite of pitch) in the BigBang rubette of Rubato. See such contributions also in
    (with G. Milmeister, K. Morsy, F. Thalmann) Functors for Music: The Rubato Composer System. In: Randy Adams, S. Gibson, S. Muller Arisona (eds.): Transdisciplinary Digital Art: Sound, Vision and the New Screen. Springer CCIS, Heidelberg et al. 2008.
    (with F. Thalmann) The BigBang Rubette: Gestural Music Composition With Rubato Composer. Proceedings of the ICMC 2008, ICMA, Ann Arbor 2008.
    (with C. Losada, F. Thalmann, S. Tsuda): Topos Theory for a Creative Analysis of Boulez's Structures. In: Somashekhar Naimpally, Giuseppe Di Maio (eds.): Quaderni di Matematica, Theory And Applications of Proximity, Nearness and Uniformity, Vol 23, 2009.

    The rubato environment is described in great detail in the book
    • CommentAuthormazzola
    • CommentTimeApr 18th 2009
    je vines de voir de votre these que vous travaillez sur la theorie des gestes (aussi en musique). Moi aussi, et j'ai fait maintes interventions a l IRCAM (MaMuX, voir G. Assayag/M. Andreatta/C. Agon). Voir mes publications recentes sur

    surtout les papers:
    (with M. Andreatta) Formulas, Diagrams, and Gestures in Music. Journal of Mathematics and Music, Vol 1, Nr. 1 2007

    Categorical Gestures, the Diamond Conjecture, Lewin's Question, and the Hammerklavier Sonata. To appear 2009 in Journal of Mathematics and Music.
    • CommentAuthord4l3d
    • CommentTimeApr 19th 2009 edited
    I have no idea if these will help but they might be of interest:
    or the much more comprehensive site of the recently deceased Tim Conrardy
    I personnally have no experience with any of this but I only hear good things about the site. Specifically see "Software" scroll down to "Emulations" (Win & Mac)

    Worth a visit I'm told if Atari or it's capabilities interests you.

    edit: Oops. Should have read more carefully. The link provided for Presto (tamw) is also where you find the emulations.
    • CommentAuthoradmin
    • CommentTimeOct 28th 2009 edited
    I recently came accross Hyperscore. It predates HighC, and there are probably a lots of good ideas to get from this software. Most notably, I'm starting to think that you need more than one view on you composition. Various views showing micro/macro portions, as well as views focusing on rhythm, others on harmonic profile... At first I was hoping only one, but flexble view was needed.

    The issue then, is how to keep the interface just as simple with more than a view?

    Actually, Hyperscore sells as a product
    • CommentAuthorhi-carl
    • CommentTimeMay 24th 2016 edited
    Dear Baudel this is my suggestion for the update next HighC, to move the line of paint through the up, down left and right, I attach the image to be more explicit and if it looks useful my suggestion, could make many but if it does not generate discomfort, a greeting.
    • CommentAuthoradmin
    • CommentTimeMay 24th 2016
    @hi-carl: thanks for your suggestion.

    If you keep the shift key down while dragging, the pitch is locked, allowing you to perform the left-right adjustment the way you describe.

    However, I note the idea of using the arrow keys to move the current selection by a scale unit.

    This summer, I should find the time to do it.
    • CommentAuthorhi-carl
    • CommentTimeMay 28th 2016
    Thomas, I am attentive to the development of this software, thank you very much for answering.
    • CommentAuthorthbb
    • CommentTimeJan 5th 2019
    I was not aware of the Greek Composer Anestis Logothetis designing a music notation that predated, and most likely inspired, Xenakis' early works.