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hujairi last won the day on February 19

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About hujairi

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  • Birthday April 29

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    Seoul, South Korea

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  1. Great solution to keep things simple!
  2. Hello, I have been reviewing James Pritchett's The Music of John Cage lately, and was particularly surprised by the detail in which some of the techniques John Cage developed in the 1940s are described such as his "gamut" technique and "chart" technique. I am very curious to see whether you are aware of any attempts to use Opusmodus to create something somewhat similar to these techniques? In theory, the gamut technique is a collection of "sound materials" made before the composition is arranged, and that these sound materials (with varying content, and often containing most of the chords in a piece), while the chart technique is a chart that makes a chart of different possible sounds according to the types of instruments that are used in the piece, only each horizontal axis gives more probability for the appearance of a particular instrument (I wonder if that makes sense). It seems like a good exercise in composition if not anything else, but I'm curious to see how to recreate this in OMN. Otherwise, are there any plans to implement some of John Cage's compositional techniques into OMN's functions? Thanks.
  3. Dear Stephane, Thank you for your fantastic feedback. I remember very well how much you stress the importance of do-timeline. I will also look very carefully at gen-divide and the other examples you mentioned. I sometimes think I need to make my own "headings" inside of Opusmodus with my own explanation for some of the techniques and how they can be applied to my idea of composition. Sometimes, those "headings" I use would change depending on the style I'm trying to compose, too. I guess maybe this is the deeper level of something powerful like Opusmodus: we have so many flexible tools that can do so many things, yet we need to be creative in finding new ways to use those tools to create interesting results. I also need to learn more about the different generative techniques I'm not familiar with personally such as the Rubin Series and the Nørgård Series. It's really fascinating that they are included in Opusmodus, and I guess I need to explore them more. I also want to see if I can use Ircam's AudioSculpt well with Opusmodus instead of Spear. I wonder if there are any benefits of one over the other. I'm just looking into Tristan Murail's process (he used AudioSculpt and OpenMusic), and trying to replicate it in Opusmodus. I hope to start thinking more carefully about these issues so that I can make better use of Opusmodus.
  4. Dear all, I am curious to know whether any of you have any tips or strategies for approaching 'structure' in composition using Opusmodus. I often find that one of the challenges I face while using Opusmodus is that I tend to think in terms of the general structure of the composition and its pertaining restraints. I find it very difficult to think about the microstructures within a piece, mainly I think because I don't know enough about how to approach the idea of microstructures. By this, I mean I generally approach composition within Opusmodus by generating pitches/lengths/articulations, and separating them in terms of sections. However, within each section, I find that I wish I knew of strategies/ideas to generate even more complexity at a very subtle/micro level. Again, I think my main challenge in reaching the next stage in my use of Opusmodus is developing a more clear strategy in regards to structure. I'm very curious to hear how others solve this issue.
  5. Scala files, I realize, are lists of tuning frequencies that can be subsequently mapped to midi. I have in the past imported lists of frequencies into programs such as Max/MSP for other projects, but I'm curious to see how this could be efficiently done in OM. It'd be nice to be able to simultaneously create library lists (that are stored in the OM directory for future use) without needing to manually go through each of the over 4,000 tunings available. I also assume that this matter would be connected somehow to any future OM functions that allow for microtonal music. As a temporary work-around, is there a way to turn frequencies from floating point digits to ratios (if this is of any use), and the ratios would be usable in parameters such as generating pitches, lengths, and velocities (perhaps through remapping procedures)? An example of what the content of an .scl file can be seen in the following:
  6. Dear all, I am curious to know if anyone has imported any/all of the currently existing scala scales into OM. Is it possible to automate the process of importing all the tunings just because dealing with both the .scl format and the number of available tunings can get tedious.
  7. Super as always. Thanks!
  8. Thanks for sharing this..!
  9. Hello all, I have been using MIDI to OMN for a while, but is there a way to transform MusicXML to OMN within OMN (just because it is much easier to review and look at the notation)?
  10. Hello, I'm currently trying to get the musicxml-to-editor function to work but I'm not entirely sure how to get the correct bundle-identifier. I'm currently using Finale 2014.5. Whenever I just try "Finale", I get an error message. I also get an error message when I try "Finale 2014.5" or "Finale 20145". Thanks.
  11. Great function...!! Looking forward to using it..!
  12. Thanks. In the meantime, if there are any further interesting resources, I'd appreciate any suggestions.
  13. I've been revisiting the spectral tools/partials documentation and have one minor observation. The link to SPECTRAL COMPOSITION at the bottom of each function description is out of date. When I choose Spectral Composition ( it says that the page is not found. Can this be updated? Also, I'm curious to learn more about if there are any others who have used the spectral tools extensively. I'm currently working on a project and hope to make effective use of it. Thanks, Hasan