Flexatone HFP
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  • System Detail

System: MusiGenesis

Authors

Description

MusiGenesis lets anyone create music on their personal computer. MusiGenesis works by adding randomly-generated notes to a song and letting you decide whether to keep or delete each one. By keeping what you like and deleting what you don't like, you will quickly create a unique piece of music ( more ). Once your MusiGenesis song is finished, you can export it as a WAV file (for CDs), as an MP3, or as a MIDI file for use in other sequencing software like ACID, Cakewalk or FL Studio (Fruityloops). If you like music, you'll love the experience of creating it for yourself. All you need is a personal computer and MusiGenesis. Easy to Use  Choose an instrument from a convenient list. Let MusiGenesis randomly place a few notes at a time. Keep the ones you like, delete the ones you don’t like. Within minutes you’ve "grown" your own music. Built-in Software Synthesizer  MusiGenesis uses its own internal software synthesizer, so you don't need any equipment other than your PC and an ordinary sound card. MusiGenesis does not use or require MIDI or DirectX. Large Number of Instruments  MusiGenesis has 189 built-in percussion instruments, including congas, kick drums, hi-hats, snares and many more, as well as 160 tuned instruments such as guitars, basses, pianos, strings and many more. Plus, the ability to import WAV files (*.wav) and Tuned WAV files (*.twv) as instruments means you won’t be stuck listening to the same sounds over and over again. Infinite Variety  MusiGenesis gives you 4 different time signatures to choose from, and the tempo of your song can range from 60 to 320 bpm (beats-per-minute). Combined with the effectively unlimited number of instruments, you will never create the same piece of music twice. AutoKey  MusiGenesis automatically figures out what key your song is in (based on the notes you're already kept) and makes sure that randomly-generated notes are in the same key. Small File Size  The MusiGenesis file format (*.MG1) needs at most only a couple of megabytes to save your song. Compatibility  MusiGenesis songs can be exported as WAV files (*.WAV), as MP3 files (*.MP3), or as MIDI files (*.MID) for use in other sequencing software like ACID, Cakewalk or FL Studio (Fruityloops). 32-bit Mixing  Produces low levels of noise and distortion, better than synthesizers that cost hundreds or even thousands of dollars. MusiGenesis' sound quality is limited only by the samples used as instruments. Unlimited Number of Instruments  There is no limit to the number of different instruments you can have playing in a song. Add as many as you think your song requires. Unlimited Voices  You can add as many notes to your song as you like. MusiGenesis has no voice limitations at all, even on older and slower computers (MusiGenesis was written on a 5-year-old notebook computer running Windows 98). If your song requires literally hundreds of sounds to be heard at the same time, MusiGenesis can handle it. Reverb  The MusiGenesis synthesizer comes with three built-in reverb algorithms that add rich 3D echoes to your song. Full Stereo, CD-Quality Sound  Check out some MusiGenesis music and see for yourself how good it sounds. MusiGenesis songs are organized into tracks. Each track contains one instrument (for tuned tracks) or multiple instruments (for percussion tracks). Each track can have up to 8 patterns, and each pattern can contain an unlimited number of notes. You can add an unlimited number of tracks to a MusiGenesis song. The basic output of MusiGenesis is a four-bar loopable piece of music organized into tracks. Each track consists of one or more patterns that are triggered somewhere in the loop. A MusiGenesis mix allows you to stretch this basic unit of music into a full-length composition by turning tracks and patterns on or off as the song plays. You can add an unlimited number of mixes to a MusiGenesis song.

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

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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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“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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“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 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 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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“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 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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“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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“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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