Flexatone HFP
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  • System Detail

System: Koan Pro

Authors

Description

With SSEYO Koan Pro, the award winning generative music authoring system, you can create and control superb pieces of generative music. The full power of the SSEYO Koan Generative Music Engine can be used to drive external software samplers using virtual MIDI software such as MIDI Ox and Hubris (not supplied). This release contains the Koan SoftSynth, an integrated software synthesiser with fully routeable and webpage programmable modules (through the SSEYO Plugin). It can thus be used to create sounds entirely from parameter settings, obviating in many cases the need to use samples. Koan templates can also be used to create Koan tracks to sonically enhance your website, and through webpage JavaScript the Koan system can also drive web animations (e.g. Flash). All your site visitor needs is the popular FREE SSEYO Plugin for Internet Explorer. At the core of the Koan system lies the control of the sound palette (e.g. SSEYO Koan SoftSynth or MP3 samples), the music rules, the patterns and the interelationship between the various components in the Koan piece. The skill in creating great interactive audio is to take all the elements and balance them between fixidity and randomness - resulting in unique and powerful experiences. SSEYO Koan Pro is the tool you need where you want the ultimate in customisation of your Koan pieces.

“... the use of numerical machines no longer stands in need of justification. It is not a mystery. If there is a mystery, it is in the mental structures of music and not in the computers, which are only tools, extensions of the hand and the slide rule.”

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“The use of computers is the logical outcome of a historical development. It by no means heralds a new musical epoch; it simply offers a fast, reliable and versatile means of solving problems that already demanded solution. The person who writes the computer programme must bear the development of musical language up to the present in mind, and try to advance a stage further.”

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“... the individual and the society are deprived of the formidable power of free imagination that musical composition offers them. We are able to tear down this iron curtain, thanks to the technology of computers...”

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“Composers are now able, as never before, to satisfy the dictates of that inner ear of the imagination. They are also lucky so far in not being hampered by esthetic codification -- at least not yet! But I am afraid it will not be long before some musical mortician begins embalming electronic music in rules.”

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“With the development of electronic and computer music, multidemnsionality of sound representation turned out to be both natural and useful. But music goes beyond multidimensionality -- it is even more complex.”

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“The computing machine is a marvelous invention and seems almost superhuman. But in reality it is as limited as the mind of the individual who feeds it material. Like the computer, the machines we use for making music can only give back what we put into them.”

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“Music is then no longer primarily conceived as a guide for premeditated emotions, but as the density of the possible relationships which first become actuality during production under the influence of chance, and which during performance are presented to the listener as sounds beyond any environmental associatiations, independent of bodily actions required to produce sounds...”

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“... but beware, technique can submerge the user: We must defend ourselves; it is good to use techniques, but we have to dominate them, to stay alert.”

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“... and the hope of an extraordinary aesthetic success based on extraordinary technology is a cruel deceit.”

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“The characteristics of every sound depend on the way in which the sound was produced. Each art-form exploits its special production methods in order to endow the phenomena with unmistakable characteristics. Artistic economy demands that the means be appropriate to the end, and that the exploitation of the means be an end in itself.”

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“The danger is great of letting oneself be trapped by the tools and of becoming stuck in the sands of technology that has come like an intruder into the relatively calm waters of the thought in instrumental music.”

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