A devlog documenting a JITLib/ProxySpace ambient practice (microsound, tone↔noise continuum)

Creative Process
1

Hi all,

I’ve been keeping a public devlog of my live-coding practice in SuperCollider and thought a few of you might find it useful — it’s less “here’s a finished patch” and more “here’s how I reasoned through each decision,” which is the kind of writing I always wished existed when I was getting deeper into JITLib.

The work centers on a piece called DERIVA, built entirely in ProxySpace. The sessions are written as practical notebooks: each one takes a problem (a resonant drone from filtered noise, an organic bass with beating, irregular-but-pulsed rhythm via an L-system) and walks through the synthesis, the bugs, and the theory behind it. I lean a lot on Curtis Roads’ Microsound — the recurring thread is the tone↔noise continuum and how a single rq parameter on a narrow BPF lets you traverse it in real time, from a near-pure resonator to a noise cloud.

A couple of things from the latest entries that might spark discussion:

  • treating a tight BPF bank over BrownNoise as a tunable drone, with the bandwidth (rq) as the expressive axis rather than the pitch;
  • coordinating pad, bass and percussion from a single tempo source to avoid clock drift, and why p[\name] (not ~name) matters inside Tdef;
  • four “scales of intervention” for transforming a synth drum kit — parameter, timbre, space, time — mapped to Roads’ temporal scales.

The blog is in Spanish (the code and diagrams are universal), here:
Laboratorio de Síntesis con SC — TWISTORES

Genuinely curious how others approach the drone-vs-onset problem for effects on continuous material, and whether anyone else builds form around the tone/noise boundary. Feedback and disagreement very welcome.

— Silvino (twistores)

[ES] Llevo un devlog en español sobre mi práctica de live coding en SC (ProxySpace, microsound, el continuo tono-ruido). Si trabajáis en español, sois bienvenidos por allí.

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