Not signed in (Sign In)

Welcome, Guest

Want to take part? Sign in or apply for an account below

Vanilla 1.1.4 is a product of Lussumo. More Information: Documentation, Community Support.

    • CommentAuthoradmin
    • CommentTimeFeb 18th 2009 edited
    U-Study-I by Dimitri Sykias shows a mastery of HighC's possiblities.
    • CommentAuthoradmin
    • CommentTimeFeb 18th 2009 edited
    σπουδή No 1, SINE-default-smooth-bell Is a first study by George Hatzimichelakis, using minimalist techniques.
    • CommentAuthoradmin
    • CommentTimeFeb 18th 2009 edited
    no 2 sine-modulation-bell is a more elaborate study by George Hatzimichelakis.

    • CommentAuthoradmin
    • CommentTimeFeb 24th 2009
    U STUDY II, Negative Prayer, a new composition by Dimitri Sykias based on a text by Dionysius the Pseudo-Areopagite
    • CommentAuthoradmin
    • CommentTimeFeb 26th 2009
    This last study is probably the most beautiful thing done using HighC (OK, there are more instruments and effects using other software too...) Thanks, Georges for pointing this out...

    BTW, your remark about viewing the waveform and envelope associated with a sound struck me as indeed missing. I will delay by a few days the 2.6 release so that it will be included! Thanks for pointing this out.
    HighC STUDY No 6, SARISSA in a boy's dream

    with "HighC pro" in combination with holophonic sounds.
    To see the "painted full score" please visit my blog
    • CommentAuthord4l3d
    • CommentTimeMar 9th 2009
    These pieces are inspiring. If your english is up to it, I would like to know the compositional techniques from either of you. Are the studies' construction intuitional, formulaic etc. If formulaic, what are they? In other words, what specifically governs your structural decisions?
    Dear d4l3d,
    Thanks for your good reasons,
    I ‘ll try to correspond to your comment, although my English are not so good.

    (First, I must tell you that my friend composer Dimitri Sykias has a problem with his computer, so for a few weeks cannot answer to you).

    I was informed about HighC from D.Sykias, by reading his blog. I enthused with its possibilities, and with the work of Mr T.Baudel. In a try to learn and manipulate HighC, I started writing a series of studies, by attempting several combinations of waveforms and envelopes, using alongside the others possibilities of HighC, the formalistic possibilities: copies, transports (not indispensably from another tone but also by microtonal transfers), inversions, retrogrades, all them in combinations with free or integers enlargements and minimizations, as you can see by looking at my painted score (you may find them in my blog). Also, I tried consonances based not indispensably to the traditional harmony, but to several ancient greek or byzantine and arabic scales. In all my studies I try to have an initial plan, at least about what kind of waveforms and envelopes I will use. From this plan and from a basic melodic and harmonic idea arises the first thematic material. The total timbre of this first thematic material gives to me a secondary plan-idea relative to the eventual form. In this nisus, I try to exploit my experience as composer of acoustic music , and also to forget it, (you may listen to some of my works here).
    I hope that I accomplished to give to you an idea about my work method.
    Thank you for your interest,
    Kindly yours,
    George Hatzimichelakis
    • CommentAuthord4l3d
    • CommentTimeMar 11th 2009
    Thank you so much. You're very generous. This was a great help. I can't wait to hear more works and eventually to hear from DS. Compositional techniques and the decision-making process fascinate me (one reason I'm a Xenakis fan) and aid my own efforts.
    • CommentAuthoradmin
    • CommentTimeMar 11th 2009 edited
    I do have some ideas on how to introduce algorithmic composition techniques in HighC.

    The main idea is to add "slots" to patterns. a "slot" is an input/output channel to which you add some behavior: when "this" data comes in, then perform a modulation/change/whatever on whatever object inside the pattern. Then, when you lay out patterns on your score or in another "higher level" pattern, you can introduce "modulation" curves that plug into a pattern in much the same way modulation works now.

    Next idea involves loop/repeat/control, but that's longer to explain.

    However, it is not for now. First because there are more important things to do, but also because I want to keep HighC simple and direct.

    The "quixotic" ambition of HighC is to create a tool that's very easy to use, even to beginners and non-musicians, so they can have fun with it, even if they don't create music, just assemble sounds together. Yet, it must also retain the ability to create sophisticated compositions, so as to allow progression of those beginners towards more structured, more ambitious goals. In some sense, I'd like to let users (beginners or experts alike) discover their own musical skills by themselves, and evolve them, refine them. I am fully aware that acquiring musical skills first and foremost requires critical listening of plenty of other's work. But *creation* skills require playing over and over with the same tools till you master them to such an extent that you can start thinking about structure.

    I think this could be possible if the correspondance between what is visually perceived, acted upon, and the outcome (sounds/music) is kept consistent and direct. I have reasons to believe it can be done, partly because of past work in psychology and 3D software modeling. Yet, this is a big challenge. A research programme, no less.

    It should be noted that the motivation for doing HighC does not rely so much into creating a great music software as in studying the techniques and process of the transition from beginners to experts, and how graphical (remanent) representations help the construction of mental representations that are refined and fit to a particular challenging intellectual task (here, creating music, whatever that means). (this last paragraph to be refined).
    • CommentAuthord4l3d
    • CommentTimeMar 12th 2009
    Well "admin" your concept and your goals and ambitions, whether stated or implied, are the reason I'm here. And, as you've expressed above, coincide with my "needs". I so admire what you've accomplished.

    I come from a graphic design rather than an audio background as have a number of soundartists. I'm a visual person and found the UPIC concept and now HighC very seductive. My intentions were (as you stated) to understand compositional techniques in general terms just to get a feel for the possibilities. I, personally, am not as interested in making music per se as I am in organizing sound. But, since the basic principles of the two have much in common I'm interested in being exposed to whatever users are willing to expound upon (maybe a sensitive area).

    I appreciate/need HighC's overarching visual direction. As I experiment more I intend to find my own voice. Making noise is the easy part. Organizing it into something meaningful to me? That's the challenge and the joy. Even with rigorous rules, the results can be nearly mystical. For me Xenakis is the prime example. I'm looking forward to seeing you implement all of your plans.

    This has become much longer than intended. Thought you might like to know your hitting one of your desired audience.
    Dear admin and d4l3d,
    your dialogue was very interesting. I agree that HighC must be a tool simple and accessible privately for non mucicians. The Xenakis' vision was to become POLYAGOGIA a panhuman way to the composition. I believe that HighC is the most friendly (of all I Know) program to this scope. To the future, perhaps, could be usefull the possibility to insert and elaborate waves-samples etc, but generally its philosophy and its interface must persist simple as now.
    • CommentAuthord4l3d
    • CommentTimeMar 13th 2009
    "the possibility to insert and elaborate waves-samples etc"

    Yes, +1! Though, I think this was addressed elsewhere in the forum as currently being a difficult proposition?
    HighC STUDY No 8, THREE INVOCATIONS, HighC in combination with wave samples and VST instruments.
    • CommentAuthord4l3d
    • CommentTimeApr 3rd 2009
    I'd love to hear an extended version in an auditorium, full surround with recorded HighC, live voices and instruments performed in Seattle (where I am). Work on that, please. :-)
    Thanks for your good reasons, my friend. But it seems very difficult for me .... first of all I am afraid -really- the travels by airplane :-)
    Secondly, I have not the public relations to reach an order of a concert so far away from Greece. So, I am pleased with internet.... I think
    that internet is the only way to publish a work without intervenors (or bore public relations). We must wait for a few years (also praying) and the possibilities of communication via internet will become to look like a live concert.
    Thanks again,
    HighC STUDY No 10, with the new version 2.7.
    In this piece are used a few inserted samples with "INSERT AUDIO FILE" (file menu), original and transposed, also maximized and minimized, and transformed by changing their envelope and repainted by changing their line direction (edit points). Of course are used the standard possibilities, several waveforms and envelopes.
    HighC STUDY No 11. Made with HighC version 2.7. By inserting with "INSERT AUDIO FILE" a recording of my little composition for solo cimbel named "fragmenta", and by transforming the original soundtrack using the possibilities of HighC.
    Cimbel was played by Angelina Tkacheva.
    • CommentAuthord4l3d
    • CommentTimeMay 27th 2009
    Just curious. Is the cimbel also called cymbalom, cimbalon etc.? So many names for one instrument. It's one of my favorite sounds in an experimental or particularly in a traditional melancholy piece. I actively seek out those "trillful", moody pieces. I intend to exploit them in the future.
    (Trillful was a made up word. If it exists, I get 2 extra points.)

    Love what you're doing, as always.

    It's too bad Dimitri Sykias hasn't come back. Although, I understand that it's difficult to put yourself "out there".
    Dear d4l3d,
    thank you very much for your interest.
    Cimbel, is a russian (also bellarussian) instrument, also called cymbalom, or cimbalom. It look like santur (rumanian, greek, etc), but its range is the violin's range (sol3 - si6). Also, cimbel has a "family": alto, tenoro, basso. It's without pedals (so it's different of hungarian cimbalom, known from Bartok's orchestral works). "trillful" is a good word.
    About, Dimitri Sykias: He is very busy this time, but today he informed me that he is from yesterday a "professional user" of HighC, by buying the full version 2.7. He promissed to me that in the next days will come back with some new pieces.

    Thanks again
    • CommentAuthord4l3d
    • CommentTimeMay 28th 2009
    Thank you for adding to my knowledge. I though it might be something like that. Names in the dulcimer class of instruments can be confusing, especially to a casual appreciator like myself.

    I sympathize with Dimitri in that I haven't been able to afford HighC and probably won't for the foreseeable future.
    • CommentAuthordsyk
    • CommentTimeJun 12th 2009 edited
    U-Study III, Nicosia-Tristia. I composed this new study with the latest version of HighC. Thanks to Mr. Baudel for his excellent "creative" and intuitive program and I truly appreciate the kind comments in this forum.
    The piece was constructed using HighC 2.7, choir samples edited inside HighC, Finale 2009 for the piano part and a wave editor.
    * Thanks to gHatzimichelakis the link now is correct.
    Dimitri Sykias
    • CommentAuthord4l3d
    • CommentTimeJun 12th 2009
    Thank you dsyk (and gH). Very dramatic and poignant. Well worth the wait. Nice visual work too.
    • CommentAuthoradmin
    • CommentTimeJun 13th 2009
    This work fully justifies all the hard work I put in this new release. Thanks dsyk (and giorgios). I really like the contrast between the piano's brief, and strong statements and the voices who lay down the evolution of the piece. I don't know why, but this made me listen again to Olivier Messiaen's "Visions de l'Amen".

    small question: what did you use the wave editor for?
    • CommentAuthordsyk
    • CommentTimeJun 16th 2009 edited
    Dear admin
    Thank you for your interest in my pieces constructed with HighC.
    I compose the pieces in parts / vertically and sections / horizontally in various instances of HighC, then I combine / mix these “pieces” in a wave editor. This way I control pan, dynamic levels, I create stereo effects, I distort sometimes sounds with audio plug-ins and finally I insert reverb where it is needed.
    Dimitri Sykias
    This piece, made with HighC, is a rough plan of a choral work. I used only a choir sample that I inserted as waveform. This plan is an experiment on the consonance of a “pictorial counterpoint” of melodies and events based on the interval of 1/4 of the hole tone. HighC is the abstract platform for this work.
    HighC Study no 13. A "fantastic barcarola" with a "fantastic microtonal piano".
    HighC Symphonic Sketch.

    By using low quality samples and the design features of HighC, I skecthed this little symphonic part, harder to test the program itself. The result surpassed my expectations. Particularly I was impressed with the behavior of samples in the design environment. Although I used only one pitch-sample for each instrument, the acoustic effect, as managed in the whole area of each organ, was more than satisfactory. The HighC proved a great tool for a quick exploration of form and instrumentation of action. Also, the “printing” of a musical phrase, and whole movement noise volumes in terms of design, that allows microtonal searches be conducted with ease.
    • CommentAuthord4l3d
    • CommentTimeNov 21st 2010 edited
    You have to know by now gH that in the relatively short time I've become aware of you, I've become a real fan of your HighC comps. Thank you so much for your latest piece. Also, I'm sure you realize, that it helps a lot when the video of HighC accompanies the written description. Your very generous and I learn from it. You always produce such sophisticated work.
    • CommentAuthoradmin
    • CommentTimeNov 21st 2010 edited
    I should concur, besides being beautiful (and in fact, getting better and better), these pieces are inspirational to let me understand the future directions to take to make the product easier to use. I hope they also help others understand how to make the best uses of HighC.

    @d4l3d: do you know that there are a few other videos showing HighC pieces on you tube: Here is a playlist of what I found.
    Dear Admin and dear d4l3d, thank you both for your kind words. Although as a composer I am “addicted” to stave and notes, I consider HighC as a liberator of fast ideas.
    I do not know computer programming and I appreciate the difficulties in manufacturing various desired (for me) HighC capabilities. However, the stereo and the ability to use sounfonts could be useful. Also, I am wondering if could achieve the ability of “export midi files”. Or, better yet, if HighC could run as a guide of VST instruments.
    • CommentAuthord4l3d
    • CommentTimeNov 22nd 2010
    @admin: thanks for the link. I was aware of quite a few of these individually but never had the opportunity to investigate the entire playlist. I need to clear some time.
    Not long ago there was, on another forum, a request for links and feedback concerning UPIC/Xenakis related apps. I volunteered HighC and was critcised for offering an app written in "limited" Java. People who think they know better travel the web with too many unwarranted biases. I tried to set them straight but don't know if I succeeded (probably dealing with lost cause "IDM is experimental" freaks, anyway). Makes me wonder if maybe you should put that playlist link in a prominent position on the home page. Might expand their horizon and shut 'em up.
    Flute Simulation

    Basecally, this piece composed by using only a flute sample and other unique percussion samples in combination with several waveforms and envelopes, by utilizing the possibilities of HighC.
    Chrysanthos Sleepeth

    By using a few envelopes and several waveforms in combination with imported waves-samples. Based on a Scale with intervals defined by the Greek Μaster of Εcclesiastic Μusic Τheory Chrysanthos Madytinos (18th-19th century).
    Ancient Spaceship

    A reference to the 70s
    space walk music

    This album was created in HighC. It was mixed in Cubase Artist 8.5 and mastered in Wavelab Elements 9 and Audacity.

    I composed these five pieces in a relatively short period of time between September and October 2017. My main intention was not to make, perhaps with a few doses of humor, atmospheric landscapes and acoustic actions that refer to space images, perhaps even influenced by the 60s, but to indirectly illustrate that what we call intonation and harmony is something more broad and fluid, even if in the end the listener has the feeling that he is listening to tonal music.