Have Fun.
Full Version: Chops Fun
It might be useful to someone.
Have Fun.
Have Fun.
a little complicated to figure out , but crazy sounds .
All samples after i use For Reason 14 after reCycle .
Have Fun.
All samples after i use For Reason 14 after reCycle .
Have Fun.
Have fun.
always use inside audio panel TEST for solution to have control with knobs .
always use inside audio panel TEST for solution to have control with knobs .
can we see you in action with this??? <
some video+audio <???
some video+audio <???
rushing water and a famous scene from the movie ? Later gonna Post -Fianna
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
More Fun.
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.😶🌫️ 😘
Audioreactive Video Playhead
love this but unsure how and why use houdini for this ?
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...
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. 😘
more test´.
Ridiculous.
Have Fun.
HOUCNC Granular Event Field is a deterministic granular instrument built as a live PySide6 panel inside Houdini. It treats grains as members of a living event ecology rather than as isolated playback fragments. The system can grow events, propagate
lineages,fracture and collide families, reorganize time-frequency material, thin or cluster populations, select diverse survivors,model perceptual audibility, conduct macro texture form, and finally expose the result through a dedicated approach mixer and master channel.............
lineages,fracture and collide families, reorganize time-frequency material, thin or cluster populations, select diverse survivors,model perceptual audibility, conduct macro texture form, and finally expose the result through a dedicated approach mixer and master channel.............
HOUCNC Kinetic Resonance Lattice is a rhythm instrument built around a living network rather than a conventional step sequencer. You do not program a fixed pattern and ask the machine to repeat it. Instead, you build a structure, inject energy into that structure, and listen to the consequences. The structure is made of nodes and connections. Energy travels between them. Travel takes time. Paths can become stronger, weaker, damaged, healed, forgotten, preferred, avoided or replaced. Events can collide. Some collisions create emphasis, some cancel one another, and some push the network toward a new state. The result is rhythm that behaves less like a written pattern and more like a physical system with memory. 🥳