THIS IS THE REAL VIBE CODING

Live “vibe coding” is presented as a way to compose and perform music directly in a code-like environment where sound, visuals, and interaction update in real time. The core appeal is immediacy: musical loops, drum patterns, synth layers, and vocal samples can be triggered and reshaped while the performer watches code elements move, edits land instantly, and the result stays tightly connected to performance gestures—especially mouse-driven effects.

A recurring workflow shows up across the examples: projects are organized with similar building blocks (drum section, bass loop, synth loops, vocals, and an effect that responds to mouse movement). Samples can be loaded locally or pulled from GitHub, letting performers swap in new material without leaving the live coding flow. One highlighted environment is Strudel.cc, described as a web-based setup for “long living coding,” and the transcript notes that a specific Strudel repository was archived shortly before the session—an abrupt reminder that these creative tools and repos can change quickly.

The performance itself leans on tight musical control. A visible variable is used to shape the kick drum and simultaneously drive sidechain behavior across other instruments, so bringing in the kick can compress or duck the rest of the mix in sync. Additional processing includes low-pass and high-pass filters, and the performer demonstrates how drops and returns of the kick can create dramatic rhythmic tension. The system also supports live editing: notes and patterns appear to update on a measure boundary, with the transcript speculating about a possible one-measure delay when changes appear to land slightly after the mouse movement.

Beyond the mechanics, the transcript frames vibe coding as a “new arc” for someone who misses playing music—particularly bass guitar. The performer compares thinking in guitar terms (scales, positions, translation into notes) with the demands of note-based coding, suggesting a learning curve but also a strong motivation to return to music through this medium. The excitement extends to tooling and experimentation: there’s talk of using AI to generate code patterns, imagining plugins (including a Neoim plugin), and even testing whether the environment can run Doom—already done in both a “ASI version” and a “real version,” according to the transcript.

The session ends with identification of the live performer as DJ Dave (with the transcript also mentioning “Switch Angel” as a possible name), and a reference to DJ Dave performing at GitHub Universe 2020. The overall takeaway is that vibe coding turns programming into an instrument: it merges coding literacy with DJ-style performance control, making documentation reading feel urgent and life-affirming rather than tedious.