Afficher les articles écrits par Gerard Assayag
REACHing Space - Co-Creative Soundscapes
Posté par: Gerard Assayag Il y a 3 semaines, 2 jours
Spatial Awareness and Influence in Somax2 + Somax2Collider presentation
Speakers : José Miguel Fernandez, Marco Fiorini, Alberto Gatti
Date :
REACH:Forum in March : updates on software REACH:suite and perspectives
Posté par: Gerard Assayag Il y a 1 mois
REACHing Forum Session
Updates in the Suite:
Somax2 version 2.6 is out!
Posté par: Gerard Assayag Il y a 12 mois
For the first time you will be able to record audio corpora in real-time into a somax.player, handle multi-region control on different areas of the corpus and synchronize events to beat phase alignment.
Somax2 version 2.5 is out !
Posté par: Gerard Assayag Il y a 1 année, 11 mois
Somax2 version 2.5 has seen a complete object redesign and modularisation so every object can be used in application style with full UI or rather in max library style with full programmability / messaging.
Somax2 2.41 released
Posté par: Gerard Assayag Il y a 2 années


Somax 2 Goes Audio ! [New Release]
Posté par: Gerard Assayag Il y a 2 années, 11 mois
Somax 2 is a multi-agent interactive system performing machine co-improvisation with live musicians, based on machine-listening, machine-learning, and generative processes.
Somax 2 est sorti !
Posté par: Gerard Assayag Il y a 3 années, 9 mois
Somax 2 is an application for musical improvisation and composition. It is implemented in Max and is based on a generative model using a process similar to concatenative synthesis to provide stylistically coherent improvisation, while listening to and adapting to a musician (or any other type of audio or MIDI source) in real-time. The model is operating in the symbolic domain and is trained on a musical corpus, consisting of one or multiple MIDI files, from which it draws its material used for improvisation. The model can be used with little configuration to autonomously interact with a musician, but it also allows manual control of its generative process, effectively letting the model serve as an instrument that can be played in its own right.