The legendary Curtis Roads once stated in a recent interview, that he primarily works using SuperCollider.
His primary release is on Soundcloud:
It’s the pinnacle of elitist sound art & granular technical audio storm… spanning an entire decade of work by the premeire voice & well-respected leader in the field of sound design, DSP, and synthesis.
More of his work can be found at http://curtisroads.net
I was reading on the Curtis’s site that even Horacio Vaggione used Sc 2 and max/msp for composing :
Horacio Vaggione - 24 VARIATIONS (2001) - YouTube
Source of the quote :
GCMR117195 295…310 (squarespace.com)
I hope it’s OK to post something of someone else I found on the internet, as it’s publicly available on YT. This is an AMAZING example of composition and dynamics in SC IMO:
If not please let me know and I will redact immediately
I really like Bjarni Gunnarsson’s music. Especially:
I think you will enjoy this.
I think the question is too vague! SC is everywhere, from super experimental to super produced, from noise to pop, from jazz to film sound design… and most of the time, not in solo but within workflows!
Maybe if the OP let us know what they like musically we can be a little more precise in our answers than ‘me too’ - otherwise a significant part of this list membership can say that 
Never forget the proverb: ‘one’s noise in someone else’s music’
or was it
‘one’s music is someone else’s noise’
? 
rumor has it that the “super_collider” band-project from 1998-2002 by jamie lidell & christian vogel heavly relied on SC (version 2 and/or early 3) in their productions.
also, in 2001 the sc-users list had a really nasty troll nicknamed “eric hard jams”. some people think this actually was richard d. james aka aphex twin.
Edited by admin (hjh) to remove the abusive quote
actually that “abusive quote” is a historic document i-d say. but okay…
here is link to the exchange without preview (beware - links will partly contain language outside the code of conduct of this forum):
http://www.audiosynth.com/files/sc-users-archive/v01.n223
http://www.audiosynth.com/files/sc-users-archive/v01.n224
http://www.audiosynth.com/files/sc-users-archive/v01.n225
http://www.audiosynth.com/files/sc-users-archive/v01.n226
http://www.audiosynth.com/files/sc-users-archive/v01.n227
The issue IMO is that the forum software didn’t only publish a live link, but also scraped a quote from scribd including specific language that violates the code of conduct.
I’m certain it was accidental – no worries there. It would have been ok to send the link prefaced with a warning, and without the direct quote. Users would then explicitly consent to see the sensitive content by clicking (in full knowledge that they were about to see abusive language). We’re grown-ups here, I think that would be fine. But since the forum automatically requoted, the element of consent was absent. I think consent is critical for these situations.
Again, I don’t think you intended the quote to appear in public view – but it did appear and I felt it necessary to remedy that.
In any case, curious users may now search for “scribd supercollider eric hard jams” and they’ll likely find the history, if they choose (active searching = consent).
hjh
Again, please make it explicit right next to the links that this is linking to language that is outside the code of conduct.
IMO it’s an interesting bit of history that someone who may plausibly have been RDJ (not strictly confirmed though) was banned for abusive conduct, but the specific abusive language is boring and hurtful, and doesn’t deserve further attention.
hjh
Formations by Mileece is probably my favorite thing made with SuperCollider. I found it a few years after discovering SC. At that time I was struggling to write synthDefs I liked, for some reason nothing was sounding good to me. Somehow listening to this record changed that. It made me fall in love with the sound of SC.
Here’s a pitchfork review of the album with a little shout out to SuperCollider. It’s available on spotify and elsewhere.
IMO it’s an interesting bit of history that RDJ was banned for abusive conduct
I am getting a bit off topic here, but is there any evidence that eric_hard_james really was Richard D. James? Those mails are really nasty and I personally wouldn’t be too excited if people accused me of being the author.
It’s been awhile since I posted a complete performance. This past May, Qiii Snacks (underground label based in Guangzhou) hosted Weeds Fest, an eclectic music festival ranging from punk to experimental electronics. They invited me to play an ambient live-coding set. Here it is. (Some editing at the beginning; the last half is unedited.)
I’ve got another one from just last weekend to edit and EQ… soon.
hjh
I just took a listen. Very inspiring!!!
Did you compose The Mother (Act VII) also in SC? Love it man…
Do you have any recommendations on how to learn? I just started reading the SC book.
All the best,
Nikolas
I released this awhile ago and forgot to post it here - maybe some people find it interesting. Code-wise there’s nothing super impressive going on, just granular manipulation of samples, but I was happy with the aural results.
I would like to hear more live eletronics / mixed music made with SuperCollider. Any references, specially composers who share code as well ?
There is this list, but it is quite outdated, many broken links…
I improvised a handful of tracks with my flutist friend for her debut album - mostly live processing, all done in SC!
https://henrietteeilertsen.bandcamp.com/album/poems-for-flute
This has been my approach for the past 20 years or so, all using SuperCollider. Here are three different takes:
Lines on Black (the second piece on this album (starting at track 8)): Glossolalia/Lines on Black | Wet Ink Ensemble
score: Lines on Black
improvised duo:
Two Live Sets
or for something completely different (two silent-brass trombones controlling audio with descriptors):
Sam
Maria W Horn is using Supercollider for her compositions, e.g. on this album:
There’s an episode of the Nuts And Bolts podcast, where she talks about that:
Nuts And Bolts S2E2 Maria W Horn