[HN Gopher] Black MIDI
___________________________________________________________________
Black MIDI
Author : golyi
Score : 217 points
Date : 2022-07-28 09:15 UTC (1 days ago)
(HTM) web link (en.wikipedia.org)
(TXT) w3m dump (en.wikipedia.org)
| Floegipoky wrote:
| Adam Neely made a really cool black-midi-ish fractal of
| Coltrane's first recorded Giant Steps solo:
| https://www.youtube.com/watch?v=J98jwtm5U4E
| tomashubelbauer wrote:
| A sample, very popular composition for anyone who is interested
| in giving the genre a listen:
| https://m.youtube.com/watch?v=Ay8vzCHkgEk
| mtremsal wrote:
| Very cool! This reminds me of people trying to play Touhou
| songs on piano. I think the famous one was "Owen Was Her"
| (sp?).
|
| edit: found this one https://youtu.be/55qst4_T_PE
| olafure wrote:
| Excuse me, was it an F or an F# at end of bar 846?
| someweirdperson wrote:
| Both.
| config_yml wrote:
| Here's another one from Queen, to give an impression of a more
| popular song: https://m.youtube.com/watch?v=HjwzR3BqMZ4
| Nition wrote:
| These are great. They must be abusing note velocity for the
| "art" sections, right? The melodic parts are obviously being
| played much more loudly (velocity in MIDI terms) than the
| beautiful tapestry-like backgrounds. Although I realise a lot
| of the crazy stuff is also a valid part of the composition
| (the big blocks of notes emulating drum beats etc).
| jancsika wrote:
| > Though the two are unrelated in origin, the concept of
| impossible piano existed long before black MIDI, manifesting
| itself within Conlon Nancarrow's work involving player pianos
| where he punched holes in _piano cards_ , creating extremely
| complex musical compositions in the same impossible, unplayable
| spirit of black MIDI
|
| Just did my good deed for the day and changed "piano cards" to
| "piano rolls." I'm guessing this article was written by a
| programmer. I have to admit I like the idea of old school
| programmers filling out punch cards and feeding them into a
| piano!
| hcs wrote:
| I don't think these were used for piano, but there _was_ an
| organ book music system that used a chain of cards:
| https://en.wikipedia.org/wiki/Book_music
|
| Edit: some discussion here
| https://music.stackexchange.com/questions/7536/did-any-playe...
| merelysounds wrote:
| Loosely related, MIDI standard can be used to generate all kinds
| of sounds, even human speech on a real life piano. Here's a
| demonstration from 2009[1] and a recent article with more context
| [2].
|
| [1]: https://youtu.be/muCPjK4nGY4?t=8
|
| [2]: https://ledgernote.com/blog/interesting/human-speech-piano/
| lioeters wrote:
| How wonderful, that gave me the feelies. From the artist's
| website:
|
| > The piano imitates the human voice and at the same time
| operates as an alienated recording and reproducing device. It
| has thus been replaced as traditional musical instrument: no
| artist operates it in order to play music. It becomes an
| oversized phonograph which is not used for the production of
| previously composed music but for the reproduction of the human
| voice. The sudden comprehensibility of single words, whenever
| the piano becomes the faithful representation of language,
| equally has the effect of a phantom's abrupt appearance: the
| close up reality of the voice is a ghostly apparition - as
| though the "forbidden" border between dream (music) and reality
| (language) had been crossed. The "talking" piano represents a
| mimetic machine which is capable of producing the mimesis of a
| mimesis: it absorbs, it imitates what has already previously
| been imitated, namely the recording of sound.
|
| > From: Chico Mello "Mimesis und musikalische Konstruktion",
| Shaker Verlag, Aachen 2010
|
| https://ablinger.mur.at/docu11.html#qu3
| freemint wrote:
| One method how stuff like a 6.5 million note version of tetris is
| created that multiple people make their own black midi following
| the melody and then those get combined together. Supprisingly
| this still sounds very different from white noise.
| hgomersall wrote:
| I wondered about this 15 years ago, having never heard of black
| midi. My thought was around a pianola and what could you do if
| you used all the notes more frequently. The pondering brought me
| to Grand Pianola Music by John Adams. A lovely piece, with a
| different slant. Lots of notes though!
| https://m.youtube.com/watch?v=o96o-N-nX-I
| deluxeroyale wrote:
| A childhood friend used to compose "Frank Zappa"-like music using
| some obscure MIDI composing software on windows. I used to watch
| him randomly spread out thousands of notes on the note sheet,
| press play and it would just sound bizarre and random, I didn't
| get it. I was 13 and the year was 1999.
| davidthewatson wrote:
| Surely you're referring to the black page:
| https://en.m.wikipedia.org/wiki/The_Black_Page I was surprised
| the Wikipedia page didn't link to it but perhaps Zappa wasn't
| big in Japan. It is a historically significant work for its
| "statistical density" to quote Zappa speaking about the piece.
| Sniffnoy wrote:
| The page does link to it?
| davidthewatson wrote:
| What I see is that the black midi page links to Zappa not
| to Zappa's work titled the black page. I'm not sure of the
| relationship between Zappa and nancarrow?
| Sniffnoy wrote:
| It's at the end of the first paragraph of the "Origins
| and early history" section.
| DonHopkins wrote:
| Also there is "Granular Synthesis":
|
| https://en.wikipedia.org/wiki/Granular_synthesis
|
| >Granular synthesis is a sound synthesis method that operates on
| the microsound time scale.
|
| >It is based on the same principle as sampling. However, the
| samples are split into small pieces of around 1 to 100 ms in
| duration. These small pieces are called grains. Multiple grains
| may be layered on top of each other, and may play at different
| speeds, phases, volume, and frequency, among other parameters.
|
| >At low speeds of playback, the result is a kind of soundscape,
| often described as a cloud, that is manipulatable in a manner
| unlike that for natural sound sampling or other synthesis
| techniques. At high speeds, the result is heard as a note or
| notes of a novel timbre. By varying the waveform, envelope,
| duration, spatial position, and density of the grains, many
| different sounds can be produced.
|
| >Both have been used for musical purposes: as sound effects, raw
| material for further processing by other synthesis or digital
| signal processing effects, or as complete musical works in their
| own right. Conventional effects that can be achieved include
| amplitude modulation and time stretching. More experimentally,
| stereo or multichannel scattering, random reordering,
| disintegration and morphing are possible.
|
| Granular Synthesis EXPLAINED:
|
| https://www.youtube.com/watch?v=ftDLRYnRYZQ
|
| As a counterpoint to "Black MIDI", there's also "100 White
| Albums":
|
| https://archive.nytimes.com/artsbeat.blogs.nytimes.com/2013/...
|
| >Listening to the Beatles' 'White Album' 100 Times, All at Once
|
| >When the conceptual artist Rutherford Chang presented his
| idiosyncratic art show "We Buy White Albums" at the Recess
| Gallery in SoHo in January, he told a visitor that the exhibition
| was only part of the project. The exhibition seemed plenty,
| really: Mr. Chang transformed the gallery into a mock record shop
| in which the only discs on display were copies of "The Beatles"
| -- the 1968 double-disc set popularly known as the "White Album"
| because of its stark cover.
|
| >Mr. Chang had hundreds of copies, all vinyl LPs, and what
| fascinated him was the way each aged and the ways their former
| owners kept them -- some pristine, others with drawings, poetry,
| messages or scrawled names.
|
| >Now, in time for the 45th anniversary of the album's release on
| Friday, Mr. Chang has completed the project's audio component.
| While listening to each copy of the "White Album" he collected,
| Mr. Chang made a digital recording. He then overlaid 100 of them,
| and pressed them as a vinyl set, with a cover on which some of
| the more colorful examples of former-owner artwork were overlaid
| as well. He has posted Side 1 on his web page, and said he would
| sell copies at the WFMU Record Fair, Friday through Sunday.
|
| White Album - Side 1 x 100 - Rutherford Chang & Dust and Grooves:
|
| https://soundcloud.com/dustandgrooves/white-album-side-1-x-1...
| FrozenVoid wrote:
| I just binge watched a dozen videos, this is probably my new
| favorite genre. The complexity and speed are on par with very
| fast electronic but far more pleasant(like classical orchestra).
| Are all such Black MIDI using only piano notes or this is just a
| stylistic convention?
| dhosek wrote:
| It kind of reminds me of how with the band that I was playing in
| back in the 90s, I was recording each take of each part into a
| separate track rather than using the DAW's takes feature because
| the latter made the number of takes a bit obscure and it was hard
| to pick and choose bits and pieces of different takes for the
| final edit. At one point, I (accidentally?) played back all the
| takes of all the parts simultaneously. It was a delightful
| effect. I don't think we had more than three or four version of
| each part but those combined made it sound like there was a
| marching band playing the music.
| nathell wrote:
| Reminds me of John Stump's "Faerie's Aire and Death Waltz", with
| an insanely hilarious score.
| jmillikin wrote:
| Live performance (starts around 3:45):
| https://www.youtube.com/watch?v=sCgT94A7WgI
|
| Amusingly, YouTube is full of videos that claim to be "Faerie's
| Aire and Death Waltz" but are in fact Marasy's performance[0]
| of a Cool&Create arrangement of U.N. Owen, which (as mentioned
| in the article) was the first work to be arranged as Black
| MIDI.
|
| [0] https://www.youtube.com/watch?v=OEQ7XzBnByU
| virgulino wrote:
| Related, how black MIDI is predated by a classical composer on
| self-playing pianos:
|
| Steampunk black MIDI - The insane music of Conlon Nancarrow
| https://www.youtube.com/watch?v=e2reuQyLoZM
| mlatu wrote:
| thanks for this, really interesting
| MauranKilom wrote:
| More history:
| https://bedrocksolidmc.wixsite.com/blackmidi/history
|
| According to that article, this should be the first Black MIDI
| composition (also mentioned in the Wikipedia article):
| https://youtu.be/6P9ISmtWUKI
|
| I also enjoy this newer version:
| https://youtu.be/GCIPZrwOBSU?t=35
|
| Both of them never fail to get a visceral reaction out of me...
| noasaservice wrote:
| Or... This more current rendition of Death Waltz
| https://www.youtube.com/watch?v=Iankyw47vqY
| moomin wrote:
| I see Nancarrow is mentioned repeatedly and I highly recommend
| checking him out. The music is quite compelling.
| j4mie wrote:
| Black Midi is also the name of a rather excellent band:
| https://bmblackmidi.com/
| themisto wrote:
| Saw them live as my first post(ish)-pandemic show. Fantastic
| live. They opened with "Call me maybe" by Carly Rae Jepsen then
| did a hard transition into 953.
| jwhiles wrote:
| Their naming is quite inspirational. If I ever start a popular
| band I will also try to make some existing thing completely un-
| googleable. The band Franz Ferdinand also tried this and seem
| to have failed.
| BLanen wrote:
| CHVRCHES is the opposite. Spelled wrong intentionally for
| SEO.
| thraxil wrote:
| My favorite little band naming micro-trend was bands naming
| themselves after Python projects, but doubled. Eg, there are
| bands named "Django Django" and "PyPy".
| uoaei wrote:
| Not sure if whoosh, but Django Django is probably named
| after Django Reinhardt.
| lgas wrote:
| It's already PyPy, so shouldn't that be "PyPy PyPy"?
| bagpuss wrote:
| you mean you haven't heard of "A" or "My Computer"?
|
| https://en.m.wikipedia.org/wiki/A_(band)
|
| https://en.m.wikipedia.org/wiki/My_Computer_(band)
| baisq wrote:
| It doesn't seem ungoogleable to me: if you google "black
| midi" all you find is that band.
| stedaniels wrote:
| You've misinterpreted the comment, this is exactly what
| they mean. The recent band, has made the term ungoogleable.
| WilTimSon wrote:
| Yep, I don't keep up with new music that much anymore but
| when I saw the title of this post, my mind immediately
| went to these lads. Perhaps they thought that naming
| themselves after the genre would prompt more people to
| discover it but it backfired?
| ptato wrote:
| It's more in their style if they just thought it sounded
| cool.
| uoaei wrote:
| It's more that their heavy jazz-inspired frenetic playing
| style is somewhat aligned in spirit with the genre.
| [deleted]
| boppo1 wrote:
| Why did they do it?
| bencollier49 wrote:
| They probably heard the term and thought it was cool. But
| it must be enormously frustrating to people who are
| involving in making this stuff.
|
| That said, it is possible that this could prevent Black
| Midi (the genre) from becoming a fad, and thus make the
| "scene" healthier. Sort of like a password to get into the
| club.
| bencollier49 wrote:
| Yep, the subject is almost completely unresearchable as a
| result. It's rather similar to the situation with the "BBC
| Micro Bit" which horribly polluted the search space for the
| original BBC Micro computer.
| agentwiggles wrote:
| Their KEXP session is very much worth watching!
| anewpersonality wrote:
| I prefer Black Country, New Road
| threads2 wrote:
| Do all black midi songs sound like anime music?
| bencollier49 wrote:
| This would appear to be a pre-digital example:
|
| https://www.youtube.com/watch?v=f2gVhBxwRqg
| jancsika wrote:
| A parallel, secret branch of Black MIDI:
|
| Back in the 80s Trimpin traveled to Mexico City to visit Conlon
| Nancarrow. He made MIDI files of all of Nancarrow's player piano
| etudes-- highly complex, mostly dense pieces that consist of
| multiple melodies that move at different tempos. Nancarrow
| remarked how chilling it was to see all his piano rolls--
| comprising decades of work-- reduced down to MIDI data that I'm
| guessing was fit onto a single 3.5" disk at that time.
|
| That was a good two decades before the Black MIDI pieces
| referenced on Wikipedia. Yet AFAICT the wider community has never
| had access to those MIDI transcriptions. (I happen to have one
| for Study No. 36 that I made manually from Nancarrow's study
| score for a paper, but I can't remember where it is.)
|
| So...
|
| 1. Nancarrow is listed as a kind of spiritual predecessor of
| Black MIDI on Wikipedia.
|
| 2. Nancarrow is also _literally_ one of the early examples of
| what became Black MIDI decades later, except nobody knows that
| because those tiny files that could fit on a 3.5 " disk were not
| (and probably still cannot be) distributed.
|
| 3. Copyright is one helluva drug.
| jszymborski wrote:
| Does Rush E count as Black MIDI?
|
| https://youtu.be/Qskm9MTz2V4?t=108
| praptak wrote:
| Some (most?) of the black midi scores do cheat a bit. They have
| bajillions of notes but most of the notes are not audible. Their
| presence gives cool visual effects (either static if you decide
| to print it out as classic music notation or dynamic when an app
| plays the tune) and that's it.
|
| Edit: they typically still have enough audible notes to make it
| sound like a dozen clones of Chopin played together.
| sheepdestroyer wrote:
| Tau ("the Song with 6.28318 Million Notes") is an extreme
| example : https://www.youtube.com/watch?v=b0gyQMJHQ78
|
| I like the "no arts" version that removes silent notes, as it
| makes it more enjoyable (for me!) to follow what's happening :
| https://www.youtube.com/watch?v=VcfmPZVqVtw
|
| However, one other interesting aspect of a song like Tau is the
| "performance" of playing these note-heavy midis. You are
| effectively recording a live performance of your computer
| processing/performing the midi file, it is not like playing a
| recording.
|
| This implies that for a good portion of black midi history, it
| was not possible for most computers to play those files without
| screen freezes, heavy skipping notes, and then recovering after
| the hard portion has passed.
|
| It was/is necessary to overclock CPUs to avoid or minimize
| these artifacts on songs like Tau.
|
| And it can be said that screen freezes/note skips are integral
| parts of the performance. At least that's my take and I really
| do enjoy seeing the computer almost giving up to then recover
| and finish the song.
| Rochus wrote:
| > _This implies that for a good portion of black midi
| history, it was not possible for most computers to play those
| files without screen freezes, heavy skipping notes, and then
| recovering after the hard portion has passed._
|
| Right. And this still applies today. And anyway: I bet > 98%
| of all listeners would not notice the difference between 6
| millions or only 1000 notes, even when the system was capable
| of playing every specified note. The whole thing is just a
| crazy gimmick with no practical use.
| klipt wrote:
| It's a work of art like any other. It has Tau*million notes
| and was released on Tau day. There are other references to
| Tau scattered throughout the video.
| ivraatiems wrote:
| That was way more pleasant to listen to than I ever would
| have imagined it'd be. Thanks for sharing! This is definitely
| a bona fide work of art in my book.
| galangalalgol wrote:
| Would master boot record fall into this genre? I always
| thought it had too many notes to be legitimate midi.
| alisonatwork wrote:
| Thanks for sharing the "no arts" version, that makes this
| whole post make a lot more sense to me. It reminds me a lot
| of the effects we used mod tracker days, where rapidly
| retriggering a note with a short attack could create a new
| timbre that fulfilled a different musical role to the
| original sample. I seem to recall "compos" or challenges in
| the scene where a restriction might be to create a whole song
| with just one sample (or even just one channel), so you'd
| make heavy use of effects like retriggers, arpeggios,
| tremelos and pitch bends to try create something interesting.
|
| It's fun when you hear the effect in commercial music too.
| For a while it only really showed up in stuff by IDM
| producers trying to sound weird, but then it got more
| mainstream and nowadays you hear it in everything from techno
| to dubstep and even pop.
|
| I wonder if these black MIDI artists require a specific
| sample set to be used for playback, so they can control how
| the waveforms interact. I also wonder how much they use
| velocity, aftertouch, modwheel etc to shape the sound, or if
| (for example) the percussive effects are just a result of
| careful stacking.
| maze-le wrote:
| Its like watching a 'shoot em up' lets play from the early
| 90ies...
| gaudat wrote:
| Back when I was a kid I played with some of those black MIDI
| files. I think one of the tricks is to put the same melody on
| multiple octaves. It makes the sound fuller without going
| dissonant.
|
| There is also a phase like effect that can be done by playing
| sgales really quickly. I think I saw that in one of the
| original Touhou black midi files.
|
| And of course there is pressng all 88 keys on the MIDI piano at
| the same time. I would like to know what that sounds like on a
| real piano though.
|
| I think black MIDI starts as a rendering artifact in a Japanese
| music notation software. The name was "Frieve" or something. It
| renders as many notes put in a measure. Without expanding the
| view. That is sort of what's going on in the Wikipedia pic.
| bskrobisz wrote:
| >And of course there is pressng all 88 keys on the MIDI piano
| at the same time. I would like to know what that sounds like
| on a real piano though.
|
| The mute pedal on an upright/console piano works by situating
| the hammers closer to the strings; if you stomp on it hard
| enough, you can get it to jerk all of the hammers such that
| they actually hit the strings and get this "all 88 keys"
| noise. I don't recommend this if you care for the piano,
| though :)
|
| (On a grand piano, IIRC the mute pedal instead either adjusts
| the position of the hammer to only hit 1-2 of the strings,
| instead of all 3, or it moves the felts to dampen the sound).
| cwillu wrote:
| Hold the sustain pedal and then drop the lid "by accident".
| gaudat wrote:
| Tried it as a kid. The score stand only hit the middle
| half of the keys though :)
| jacquesm wrote:
| That would sound like a very quick glissando.
| Rochus wrote:
| > _They have bajillions of notes but most of the notes are not
| audible_
|
| Good point; and if they would be audible the latency would have
| been unbearable, since the MIDI 1.x protocol only supports
| ~31kbit/s; each note requires 3 bytes for on an off each; so
| e.g. a chord with more than ~20 notes no longer sounds like a
| chord, but like an arpeggio; many expanders I had were even
| slower.
| tenebrisalietum wrote:
| It gets worse when you throw "controllers" in there, which
| will generate many MIDI events per second to model the
| twisting of a knob or movement of a slider.
| jsmith99 wrote:
| The article says they sometimes play them slowly and speed
| the recording up to the correct speed afterwards.
| Rochus wrote:
| This would hit physical limits with MIDI 1.x, since you
| would then have to somehow transpose down the music (to
| correct for the transpose up because of the much faster
| playback speed) which would cause a greatly reduced quality
| (or not work at all) since the frequency range by MIDI
| expanders and audio equipment was less than 20kHz. And the
| auditory masikng caused by the ear sets yet another limit.
| mkl wrote:
| I think you're misunderstanding. The slow-motion screen
| recording video can be sped up to match separate non-
| realtime software synthesis of audio (using e.g.
| Timidity++). It can all be entirely software so there
| aren't physical limits to worry about.
| Rochus wrote:
| Try to do that with a factor of e.g. 10 (you would likely
| need a factor of 1000 to cope with a "composition" of
| millions of notes) and observe the quality. The "physical
| limits" (e.g. Nyquist rate) also apply to the
| calculations done by a computer. To cope with the speed-
| up of slow motion to real-time you'd have to re-sample or
| transpose. Even with a very large sampling rate both of
| these transformations only produce useful results within
| narrow limits (less than an octave, i.e. factor two).
| mkl wrote:
| The quality will be essentially perfect. The wave file is
| rendered in software, as slowly as it needs to go. The
| rendering speed has nothing to do with playback speed,
| sampling rate, or frequency. Think of it like a ray
| tracer generating a few pixels a second and gradually
| building up the frames of a movie. You could generate one
| audio sample per second and save them to a file, and
| twelve hours or so later you'd have a 1-second long piece
| of 44.1kHz audio. There is no speeding up or resampling
| or transposition involved because the audio file was
| generated with the right sample rate (nothing to do with
| the generation/calculation rate).
| Rochus wrote:
| I responded to the fellow stating "The article says they
| sometimes play them slowly and speed the recording up to
| the correct speed afterwards." which implies a change to
| the time scale. But also if you do a "perfect" non-
| realtime offline rendering Black MIDI is pointless; a
| piano has 88 keys; if you want to play thousands of notes
| a second then the only "benefit" you get is either a comb
| filter effect when the same note is triggered nearly the
| same time or a 3 dB gain (on maximum) if triggered
| exactly at the same time; there are easier ways to
| achieve this, even in real-time.
| TheOtherHobbes wrote:
| The benefit is you can create sample-accurate arpeggios,
| amplitude-modulated timbres, and other extreme and
| unplayable effects famously (over)used in tracker music.
|
| You don't seem to have experience of what trackers can
| do. Essentially Black MIDI is rendered tracker music with
| a nice animated piano roll background.
|
| On a slow system a render will take longer than real
| time. On a fast system it won't.
| Rochus wrote:
| > _You don 't seem to have experience of what trackers
| can do._
|
| Well, I'm a trained musician and use sequencers since
| Atari times; a tracker seems to be just a sequencer more
| geared towards people who prefer to enter numbers instead
| of playing; if so I would prefer something like csound or
| chuck; but I was more interested in live music the last
| few years; here is what I currently do: http://rochus-
| keller.ch/?p=1153
| mhb wrote:
| Thanks. Why one white shoe?
| Rochus wrote:
| The white shoes are padded gym shoes to avoid hematomas.
| oynqr wrote:
| Is there any software which actually does this properly?
| I've tried timidity, but it doesn't produce decently
| sounding output with the black midis I have.
| praptak wrote:
| I don't believe black midi can be played on normal
| instruments, it's mostly computer-based (barring the
| punchcard pianos). In fact even standard pre-black-midi
| software would probably crash when trying to open such files.
| sheepdestroyer wrote:
| This is a good attempt at playing Rush E (8 hands):
| https://www.youtube.com/watch?v=qbEBrMZ-G_k
|
| I love the whole arm technique to play the bars xD
|
| The original black midi for comparison :
| https://www.youtube.com/watch?v=Qskm9MTz2V4
| Rochus wrote:
| A piano has only 88 keys (if you play outside of those it
| doesn't sound like a piano anymore, even on a computer).
| And if you use more than one piano at the same time, all
| what happens is a phasing effect if more than one hits the
| same note at the "same" time.
| lewispollard wrote:
| The point is that if the MIDI file and the synthesiser in
| question are all on the same system (i.e. a VST in a
| DAW), no MIDI data transfer has to take place. So the
| data transfer limit in question isn't applicable.
| Rochus wrote:
| Even if it's on the same system your piano still has 88
| keys and you get either a loudness gain per key or a
| phasing effect when a key is played more than once per
| time. The only somewhat interesting effect (at least for
| some) might be that the generator hits its limits
| (usually 20 to 40 notes polyphony) and randomly decides
| which notes to leave out or prioritize. But this is out
| of control of the "composer" and likely not the intended
| effect.
| jacquesm wrote:
| I have a real piano capable of midi input here and there is
| no way I'm going to test the power supply and solenoid
| drivers by sending them that kind of data because I'm
| pretty sure that the designers did not anticipate this kind
| of use.
| dang wrote:
| Related:
|
| _The Impossible Music of Black MIDI_ -
| https://news.ycombinator.com/item?id=10546489 - Nov 2015 (119
| comments)
|
| _I For One Welcome Our New Robot Vocal Cords: Radical Computer
| Music_ - https://news.ycombinator.com/item?id=7195283 - Feb 2014
| (34 comments)
|
| _The Impossible Music of Black MIDI_ -
| https://news.ycombinator.com/item?id=6640963 - Oct 2013 (175
| comments)
|
| _The Impossible Music of Black MIDI_ -
| https://news.ycombinator.com/item?id=6432112 - Sept 2013 (5
| comments)
| raptorraver wrote:
| This reminded me of Conlon Nancarrows compositions for player
| piano.
|
| Edit: should have read comments before postin :) It was already
| mentioned.
| kome wrote:
| wow! i did that and i had NO IDEA that there was a niche of
| people doing that as well. i think i found my people i have to
| get in contact
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