CONTRIBUTORS

Hugh Lobel – Creator, Lead Developer, Web Architect

Hugh Lobel is a composer, programmer, performer, and educator living and working in the Denver/Boulder area. Currently adjunct faculty at the University of Colorado, Boulder, Hugh has taught a variety of classes on acoustic and electronic music to music majors and non-majors.

Hugh has lectured on his code at the SEAMUS (Society for Electro-Acoustic Music in the United States) conference at the University of Florida, at Colorado University, and the Faculdade de Engenharia da Universidade do Porto in Porto, Portugal. As a research assistant at the University of Texas, Hugh worked on a multi-year grant to develop an adaptive system for accompanimental improvisation to live performers.

Original compositions by Hugh have won or placed in many competitions, including winning the Areon Flutes International Composition Competition, the Playground Ensemble Colorado Composers Competition, and placing as a finalist in the ASCAP Morton Gould Competition and the Lake George Composition Competition. Hugh has also received many awards, including the Colorado University Atlas Fellowship, the Spark Award, the Edward Levy composition award, the Kent Kennan Endowed Graduate Fellowship in Music Composition, and the Hirsch Endowed Scholarship. His compositions have been played by members of the Houston and Austin Symphony, The UT Symphony Orchestra, ETHEL String Quartet, the Playground Ensemble, Areon Flutes, Liminal Space, the AURA New Music Ensemble, the UT New Music Ensemble, and countless other musicians. His dance collaborations have been highlighted in the Houston Chronicle.

Hugh received his Doctorate in Music Composition from the University of Colorado, Boulder, where he held the title of Atlas Fellow. Hugh received his M.M. in Composition from the University of Texas, Austin and his B.M. in Composition from the University of Houston.

Active Contributors

Michael Mann

Contributions:

  • System Design
  • Quality Assurance
  • Module Creation
Michael is a student at University of Colorado Boulder who grew up playing piano, french horn, and composing experimental music. Now he helps program for MSDP and uses it for his own compositions.
Dean Berlinerblau

Contributions:

  • Graphic Design
  • Quality Assurance

Dean is a sound artist, designer, and entrepreneur based in Minnesota. He composes electronic music under the moniker Modify, where he uses Music SDP along with ppooll, MainStage, Reaktor, and Logic Pro to turn raw instruments into abstract layered sounds. He commonly does in-studio and live collaborations with friends to explore how unique individual styles can be digitally manipulated and turned into something completely different from their source.

Here are links to his projects:
https://modify.bandcamp.com
https://d-n-a.bandcamp.com
https://modifyandborzoi.bandcamp.com
https://cognitivepull.bandcamp.com
https://soundcloud.com/deanberlinerblau

PREVIOUS   CONTRIBUTORS
Jonathan Chandler Spoon

Contributions:

  • Graphic Design
  • Quality Assurance
SPONSORS   AND   DONORS

These marvelous people support our project by donating money to our cause (donors), some of them every month (sponsors)! The generosity of our support structure makes it possible to keep doing what we do every day, which means we all get more and better tools and support!

Sponsors

Producers:

  • None yet! Maybe you want to be the first!

Premium Patrons:

  • Todd Skinner
  • For $3 a month, you can be a premium patron also!

Patrons:

  • None yet! For $1 a month, you can be the first!

Donors

  • Jose Luis Ortiz
  • Richard Armin
ATTRIBUTIONS

Many of the tools available in Music_SDP are only possible thanks to resources created and provided for free by incredibly talented people. Here is a (hopefully) complete list of these resources and attributions and links to the creators and their tools.

Miller S. Puckette
Along with creating the programming language Max, Miller S. Puckette developed the external fiddle~, used in MSDP for pitch detection. http://msp.ucsd.edu/
The Cycling 74 team
The Cycling74 team maintains and constantly improves the programming language Max. They also created many patches used in Music_SDP’s modules. www.cycling74.com
Dirk Leas
created the external msdpfs which is used in Music_SDP to create the project folders, to copy audio files, and in various other ways to manage the project files.
Kristoffer Ekstrand aka Adventure Kid
Kristoffer Ekstrand created the waveforms that used in Music_SDP’s Additive, SAW, and Stochastic synthesizers.
Open Iconic
Open Iconic created the open-source icons used in the many of the custom UI elements in Music_SDP. www.useiconic.com/open
tyPoland Lukasz Dziedzic
tyPoland Lukasz Dziedzic created Lato, one of two open-source fonts used in Music_SDP. Copyright (c) 2010-2011 by tyPoland Lukasz Dziedzic with Reserved Font Name “Lato”. Licensed under the SIL Open Font License, Version 1.1.
Google Inc
Google Inc created Roboto Mono Thin and Roboto Mono Light, two of two open-source fonts used in Music_SDP. RobotoMono-Thin.ttf: Copyright 2015 Google Inc. All Rights Reserved. RobotoMono-Light.ttf: Copyright 2015 Google Inc. All Rights Reserved.
Russell Pinkston
The original pitch shifter, the flanger, and the chorus effect all use code created by Russell Pinkston (with permission). http://russellpinkston.com/
Rodrigo Constanzo
created the Karma~ external that is used as the core of the Glitch Pad module. http://www.rodrigoconstanzo.com/

HISTORY   OF
THE   MUSIC   &   SOUND   DESIGN   PLATFORM

2009 – Today

2009-2011 (Austin, TX)

The Machine

The Music & Sound Design Platform’s origin came from a desire to develop a single unified program to run my compositions for instrument and computer. This program was developed under the tutelage of Dr. Russell Pinkston while earning my masters in music composition from the University of Texas. Dr. Pinkston’s own software acted as a model, centering around a system that could be re-used and improved iteratively for many different works. The software could run without assistance, or be operated by the performer or a technician during the performance, and all parameters were stored in and managed by a “system score”. The program grew over time, but as long as the code was consistent enough, any previous work could be run by plugging in the correct score (and any needed audio files).

I called the project “The Machine”, and this early version’s interface consisted only of a very basic performer view. All of the processes were hidden behind the screen, and the only way to figure out the correct parameters was to hard-code them in. Finding the right combination of processes and values was time consuming but rewarding.

2011-May 2015 (Boulder, CO)

The Altogether

Studying with Dr. Michael Theodore while working towards my doctorate at the University of Colorado, Boulder, I became interested in live code manipulation. I developed a variety of interfaces to “perform” my code in real-time, and began building a number of synthesizers to play. I wanted to keep my unified system, but understood that I’d need to develop something new and flexible if I wanted to make the program easy to perform. I knew I wanted a program could grow as needed, and that I wanted to retain the ability to chain processes together. These needs lead to the development of the Pedal Board, and The Altogether was born.

This version of the code became my dissertation topic at the end of my degree. While working on finishing the code, I realized that I could make the project into an application and share it with the world if I found some clever solutions to a few tricky problems. Dr. John Drumheller, my dissertation advisor, guided me through the process of preparing the version that would become the initial release, and his Boulder Laptop Orchestra ensemble became the first testing ground. This experience proved that the program had potential for users who didn’t know how to code. The dissertation paper discussing the initial release of the code is available to the public and can be downloaded here.

 

June 2015 – Today (Colorado and… Beyond?)

The Music & Sound Design Platform

Over the course of Max’s development, there have been several updates to the language that “broke” my ability to build the code into an application. At one point I discovered that the application was most likely to build successfully if I only included the minimum code needed to run the software, and left the rest of the code in folders that the application could access. This made the application builds much more stable, but also meant that other users would be able to dive into my code. I realized that if I wanted the software to be available in the future, it would need to be open source. I’d always wanted my software to be free for the public, but making it open source was scary. Some of this code dates back to 2009 when I was just beginning to program, and lots of it needed to be cleaned up (I’m still cleaning up code!) But I was determined, so I decided to take the plunge and release it all online! After all, others had shared their code with me, now was the chance to give back to the community!

Around the same time I realized that my software was quickly becoming too much for one person to manage. I decided to turn the project into a team effort, and began to look for volunteers who believed in my vision of powerful and functional software that would be available to everyone. I decided to re-launch the program with a new name that reflected it’s new focus, and settled on The Music and Sound Design Platform, shortening it to Music_SDP or MSDP when useful. Today we’re a small three-person team centered around the University of Colorado, Boulder, but we’re looking to expand to include anyone who’d like to help the program evolve.

With the re-launch of the software, I’m looking towards the future. If you’re a programmer who would like to contribute, or if you’re a user who has an idea or two about what you’d like to see added to the program, I want your input. This project has always been, and continues to be, a labor of love. Sharing this labor for, and with all of you, means that this program can continue to grow and provide musicians, composers, and explorers with exciting new tools to create exciting new sounds!

 

  • Hugh Lobel, February 2016
Facebook
Facebook
YouTube
YouTube