Have Fun.
Chops Fun
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- cncverkstad
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- cncverkstad
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- cncverkstad
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- fianna
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some video+audio <-
- cncverkstad
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- cncverkstad
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More Fun. its infinite Music maker based on some rules L system - Markov chain... etc . Inside Reason i use samples that i have made in Houdini 60 / 40 % , right now i have at least 60 different synths and all have own purpose that I like and man i having Fun . Experimental Stuff ..mostly Fusion-Jazz, Psy-Techno , Progressive House , Classical---Romantic
. Experimental Stuff ..mostly Fusion-Jazz, Psy-Techno , Progressive House , Classical---Romantic
Edited by cncverkstad - Aug. 3, 2026 13:54:42
Conservation of Momentum
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- cncverkstad
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- cncverkstad
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Last one!!
in short .. "next to do its wonderful "Process" to tweak sound" But i have already all stuff that i need .
OpenCL measures brightness, motion, edges, symmetry, and image-region activity.
Python averages those values per frame and writes visual features to csv.
The interpreter converts visual values into melody, harmony, density, register, and drum controls.
The solver outputs five melodic channels, while Kongo uses one channel with different notes for its drum pads.😶🌫️ 😘
in short .. "next to do its wonderful "Process" to tweak sound" But i have already all stuff that i need .
OpenCL measures brightness, motion, edges, symmetry, and image-region activity.
Python averages those values per frame and writes visual features to csv.
The interpreter converts visual values into melody, harmony, density, register, and drum controls.
The solver outputs five melodic channels, while Kongo uses one channel with different notes for its drum pads.😶🌫️ 😘
Conservation of Momentum
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- cncverkstad
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- NicTanghe
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- cncverkstad
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For me, there is no special reason except that I can do it now in Houdini..All the ideas I have now can finally be realized and turned into music, so in this case the most important thing for me is to have fun and turn them into work, and for the rest, WHO? What? because of what? BLANK I don't care...
Conservation of Momentum
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- cncverkstad
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HOUCNC FIELDSONIC — Houdini Volume Sonification Test
This experiment presents a working implementation of FIELDSONIC, a procedural sonification system in which evolving volumetric field data generated in SideFX Houdini is translated into musical control data.
The source simulation consists of a 96-frame sequence running at 24 FPS, corresponding to a duration of 4 seconds. At a musical tempo of 120 BPM in 4/4 time, these 96 frames correspond precisely to a two-bar musical cycle.
Rather than extending the simulation itself, the same two-bar field sequence is used as a repeating data loop within an 18-bar musical arrangement. The sonic result is progressively developed across the arrangement by introducing and layering different synthesis parameters, modulation routings, dynamics, and timbral responses. Consequently, the underlying simulation remains identical during every repetition, while its musical interpretation gradually evolves over time.
The Houdini volume fields are spatially sampled into a 16 × 16 analysis grid, producing 256 spatial measurements per field and per simulation frame. The current system can be expanded to substantially higher spatial resolutions, including 32 × 32, 64 × 64, and potentially the full 128 × 128 source grid, allowing progressively finer structural information from the simulation to influence the sonification.
Multiple physical characteristics of the simulation—including field magnitude, spatial position, topology, temporal change, turbulence, activity, and pixel-grid structure—are extracted and mapped to MIDI performance parameters controlling several synthesizers independently.
The important conceptual distinction is that the resulting musical development is not generated from a conventional pre-composed sequence. Instead, the same deterministic Houdini field evolution acts as the underlying control structure, while different mappings expose different aspects of that data as sound.
Although the audible composition develops over 18 bars, its fundamental generative source remains the same two-bar, 96-frame physical simulation loop. This makes the experiment particularly useful for studying how a single multidimensional simulation dataset can produce a large range of sonic behaviours through alternative mappings and levels of spatial analysis.
In short: one four-second Houdini simulation becomes a reusable multidimensional musical control system.
And yes — once you start varying the field processing, grid resolution, synthesizer architecture, and modulation mappings, the number of possible interpretations becomes enormous. Endless procedural fun. 😘
This experiment presents a working implementation of FIELDSONIC, a procedural sonification system in which evolving volumetric field data generated in SideFX Houdini is translated into musical control data.
The source simulation consists of a 96-frame sequence running at 24 FPS, corresponding to a duration of 4 seconds. At a musical tempo of 120 BPM in 4/4 time, these 96 frames correspond precisely to a two-bar musical cycle.
Rather than extending the simulation itself, the same two-bar field sequence is used as a repeating data loop within an 18-bar musical arrangement. The sonic result is progressively developed across the arrangement by introducing and layering different synthesis parameters, modulation routings, dynamics, and timbral responses. Consequently, the underlying simulation remains identical during every repetition, while its musical interpretation gradually evolves over time.
The Houdini volume fields are spatially sampled into a 16 × 16 analysis grid, producing 256 spatial measurements per field and per simulation frame. The current system can be expanded to substantially higher spatial resolutions, including 32 × 32, 64 × 64, and potentially the full 128 × 128 source grid, allowing progressively finer structural information from the simulation to influence the sonification.
Multiple physical characteristics of the simulation—including field magnitude, spatial position, topology, temporal change, turbulence, activity, and pixel-grid structure—are extracted and mapped to MIDI performance parameters controlling several synthesizers independently.
The important conceptual distinction is that the resulting musical development is not generated from a conventional pre-composed sequence. Instead, the same deterministic Houdini field evolution acts as the underlying control structure, while different mappings expose different aspects of that data as sound.
Although the audible composition develops over 18 bars, its fundamental generative source remains the same two-bar, 96-frame physical simulation loop. This makes the experiment particularly useful for studying how a single multidimensional simulation dataset can produce a large range of sonic behaviours through alternative mappings and levels of spatial analysis.
In short: one four-second Houdini simulation becomes a reusable multidimensional musical control system.
And yes — once you start varying the field processing, grid resolution, synthesizer architecture, and modulation mappings, the number of possible interpretations becomes enormous. Endless procedural fun. 😘
Edited by cncverkstad - Sept. 20, 2026 00:53:19
Conservation of Momentum
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- cncverkstad
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- cncverkstad
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