This is a piece I composed for Dr. Boulanger's Csound class at Berklee College of Music. It was completed within 6 hours and only uses Csound Catalog instruments. I rendered the instruments as they were and edited the audio.

If you enjoy this piece and want to hear more Csound in action, visit www.myspace.com/blowyourbrainout or www.blowyourbrainout.com

Enjoy!

This is my 6 hour International Catalog Competition project for Dr. B's class.

I used instruments from the Byrne, Comajuscosas, Hoffman, Lyon, Mikelson, Miranda, Risset, and Varga collections.

I rendered all of these and then cropped my favorite parts of them in Peak. After that I used MetaSynth to pitch shift down some of the percussive sounds. I created Kontakt instruments with the samples and sequenced the song in Logic.

I got a White Reese's as a prize because I won the competition although I think Rob's song was better than mine

Rob, I think you should have won

-mario

This is my midterm project for Dr. B's class at Berklee. It's a one minute notelist composition. I didn't know about score tricks when I wrote it, so it was tediously entered in one section.
One of the instruments in the piece won't work without an audio sample, but the website won't let me upload it :/

This is my (Bradley Will's) entry for Dr. Boulanger's 6 Hour Csound Composition. The sounds were derived entriely from CSound using the following instruments (The catalogs they were derived from elude me at the moment):

chsp
fofchor
gra
kidsahh
and my custom-built Groan instrument

This is for Dr. Boulanger's berklee class. The assignment was to create a pop sequence using only the catalog sounds in under six hours. I used Reason and Recycle to make this.
This composition is based around a sample of Paris Smaragdis' piece "Slingpling". I chopped the audio using recycle and looped a portion of it. After introducing the sample, drums (cut from Josep M Comajuncosas bdrum instrument, newsnare, newcymbal and newgoofyperc, from the mikelson collection) enter.

This little piece was composed for Dr. Richard Boulanger's Csound class at Berklee College of Music for the Spring '08 semester. The criteria for this composition were as follows:

1) the piece must be started and finished within 6 hours.
2) only sounds from the Csound catalog can be used.
3) any host software and plugins can be used.
4) try to make it pop-friendly.

That's pretty much it. I used the following Csound instruments:

1) 02_01_7 - 1 Gather Amsterdam Catalog
2) 03_01_1 - 1 Gather Amsterdam Catalog
3) analog1 - 1 Mikelson Collection
4) bd5000 - 1 Varga-Collection
5) hihat - 3 Internet Collections/Various
6) marimba - 1 Varo_PinkstonDX Collection

At Dr. B's suggestion, I broke my workflow into 3 2-hour chunks. In the first 2 hours, I grabbed the sounds that I wanted, modified and rendered each .sco/.orc file to get the timbres that I wanted. Then, I placed all of the samples in Reason and keymapped them using the NN-XT sampler.
In the next 2-hour block, I wrote and arranged the piece and tried to make it poppy and catchy.

this was an experiment to hear how I reacted to a short&simple piece played by four csound instruments, instead of being played by a woodwind quartet, that it was written for. don't know if I learned anything really. ;-) But the reverb (freeverb) and the delays sound good, I think

/Peder Karlsson

Canticle, by Douglas M. O'Grady

This is a composition which uses Csound's FOF opcode to create a soprano "voice" which evolves throughout the piece from a rather low-resolution silly sound to an incredibly realistic sounding one (thanks to the "jitter" algorithm found in The Csound Book.) The sound source for the grains is a simple sine wave.

Everything in the piece (including the reverb) was done in Csound, except for some of the parts at the end which are recordings of the beginning running backwards which was done in Pro Tools.

http://www.douglasogrady.com

Staying at a hotel near Charles de Gaulle airport in the summer of 2002, I was struck by the sound of the traffic on the A1 motorway; it was loud and persistant, and enhanced by the recent rain storm. About 4am I recorded a series of samples.

Charles at Night uses one of these samples, and is modified with some resonant filters whose frequency and bandwidth are controlled by the Henon equation.

The piece is somewhat loud and liable to give the listener a headache. It however what I wanted.

Licenced under Creative Commons Attribution Non-commercial No Derivatives (by-nc-nd).

This piece is inspired by three chords from La Monte Young's "The Well-Tuned Piano" and various sine-tone installations: the Opening Chord, the Magic Chord, and the Magic Opening Chord. I didn’t use Young’s chords literally, but instead made five new chords whose pitches I derived based on the combination tones (summation, difference, and periodicity pitch) implied by his chords. The piece was built by combining these five chords in various layers.

Kyle Gann has included Sublimation on the playlist (look under "Past Selections") of his Postclassic Radio show. Tim Rutherford-Johnson used an excerpt from Sublimation in his "avant-classical" mix Long Shadows.

Sublimation is licensed under the Creative Commons Attribution License.