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 Now online (1)dariusgriffin ...and 114 guests Last 5 registered Oplandisks nothingstar N_loop yipe foxtrotromeo Browse members... |
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Members 8025Messages 2613412 Today 4 Topics 127499 |
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This continues my 1 trick pony noob complexity tactic of playing a beat in 3 octaves simultaneously, except it was all done inside python (no modplug tracker) this time. There's no panning, no "special effects" if I would even know how to do any anyway... I could probably figure out reverb, I mean just re-paste the same thing with diminishing volume again and again. So here's what I basically did so far: choose a palette of like 10 wav percussion sounds. Every row have a 1/3 chance of a randomly selected palette sound going there (randomly stretched to a size that matches the tempo, which also changes the pitch but all well, it's just percussion so I guess pitch doesn't matter much for them). Then... like do it again at 2x the speed, and again at 4x the speed. so you have basically 3 octaves of randomly selected crap. Then for the notes I can set a tiny loop on any sound in that palette to match a note like 16.35 frequency for note C-0 etc. and I can slide the loop start/end positions over time. So yeah, that's what I have so far, this probably made little sense. |
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interesting stuff, if a little bit random sounding |
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Yeah, completely random, like "if random number of 0-2 equals 0, make a percussion hit here" Also I had a "bidi" option for the notes, where every other frequency loop was reversed so it would loop smoother I guess. It's pretty hard to understand autechre's ability to control sound in lp5/ep7, it might take like an hour of computation time to generate their tracks if its 100% automated. My algorithms are always horribly inefficient, plus I'm using slow python. I don't know how they keep such precise control while even slowing the tempo down. It's like every sound they use is composed of the tiniest elements that can be arranged however they want, but organizing all of that is orders of magnitude of difficulty. |
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i think those two were practically all nord modular, nevermind its good to rebuild the wheel cu in 10 years :) |
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nice |
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sounds music concretish |
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friend, I present: my yearly admonition that you should be using pure data or supercollider or some shit. check out it free |
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and complimentary lissajous dental floss |
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I looked at nord modular videos and the videos on that tidalcycles page. The latter was quite impressive and cool, I like how the pattern evolved over time. I'm sort of habitual and figuring out how to create stuff in a programming language from the ground up is an entertaining game in its own right. The wheel I reinvent might be lumpy with nails in it, but at least... uh, uh, something. Spirographs are cool. I can do circles in circles stuff because I have a 2d point class. I'll also try this cellular automata thing that basically makes random but smooth curve shapes. But time is so 1 dimensional that it's sort of tricky to do interesting stuff compared to 2d animation, which is way more information possibilities. I made a getzoing() function that returns something fed with different parameters, like an echo thing with a variable for number of echoes, size multiplication for each echo unit, echo spacing, and all the echos are blend-pasted (on top of eachother). Once you start making functions like that you can get way more variation, potential unique units from a single kickdrum instead of always using "kickdrum1.fart". With a 2d picture you can show many unique variations simultaneously. Time isn't even 2d, PLUS you only hear ONE time unit at a time, so for something to mutate you have to make a change to hear later in time. I'm sort of just beginning to get to the interesting part perhaps. I'm still using seed wavs rather than creating tones and such from the ground up. The main pain was dealing with wav files because python is ass cheese at messing with bytes. So I got the hell out of the wav file, extracted the number data and put it in a list which was multiplied so each num is between -1.0 and 1.0, so now I can just deal with a list of numbers. |
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Plus the idea of putting output back into input is often cool, like I can make a getzoing(), then what it returns, put that back in as the data for another getzoing() |
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i punched the clock on analog faders for a good long while, and there are things in there that i've never got (satisfyingly) out of a computer. ex: acquire one (1) quadrafucka rack FX (nine quid per effect @ six effects) and one (1) sixteen-channel mono mixa (an overpriced mackie or an underpriced behringer [my choice: a southpaw yamaha in blue {molyneux}]). wire the mixer's AUX1 knob to the rack FX input. wire the rack fx output to the mixer's CHANNEL 1 input. select some form of delay effect (e.g. delay [delay {delay}]) and slowly turn up AUX1. if everything goes to the red in a blast of feedback, you've gone to far. turn the knob all the way down and start over once you're sure you've gotten the knob as far up as it will go without a feedback loop rocketing off, use another channel to drop a single snare sample into the dangerously unstable system of cheap analogue shite pretty much, i don't have a VST plugin for this. if anyone can recommend; please let me noe |
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Here is a short mp3 of 25 calls to getzoink(seedns,sizstep,echospac,nechos), all using the same sample. getzoing basically returns an echo where you can vary: sizstep (how much the length of each echo unit stretches on each next echo), echospac (space between echos), nechos (how many echos which decrease in volume) Took like 2 minutes to compute that mp3 I think. |
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actually it's zoing not zoink, but u can call it whatever u want dawg. |
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Here's some sort of hypno complexity semi half hearted song attempt (made same thing as above but used a unique sound per function call, then played a bunch of octaves at the same time with panning, and audacity wahwah for end/beginning) I probably don't know how to program audacity's wahwah effect but it gives me ideas. If I can melt a section of sound so it comes out the same length as it went in but warped a bit, that'd be useful. Then I could make a mass of melt units, each slightly more melty, all on top of eachother. |
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that catching my dogs attention |
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she's deaf |
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never thought there was so much complexity behind your music w M w |
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i mean making a song out of mathematics |
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Typically you can manipulate sound at a granularity of like 1000 to 2000 or so times finer than the typical tempo of my many modplug tracker songs, so that's obviously really useful for "idm". Here's another experiment. I got some random sample drum wav data which is a list of numbers: [P,n,n,n,N,n,n,n,n] (except ike 30,000 or so numbrs long) Now I draw a circle with center at the capital N. Now an orbit point P rotates around N. So make a new list [] where you rotate P a little bit around N, and take P's x value and put it in the new list constantly. But then you can slowly change the size of the radius (to make it spiral inward instead of be a circle, and also change how fast it rotates). So I did that to 8 sounds (all stretched to the same size). Then I put the 8 results in modplug, each panned from left to right and slightly out of phase with eachother. |
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niiiiice |
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loool my dog is crying and barking |
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what the hell i had to calm her down |
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subject enjoys long trolls on the board and prank function calls |
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Here's a non sound related gif animation: I was inspired by 'space filling curves'/'hilbert curves' in the strar rwars thread (even though it isn't those specifically. Instead it is: start with a line of like 5 or so points (red line) for each segment of this line, replace the segment with a shrunk version of that larger line (blue is next iteration, then green then white) Looking at it again, I'm not even sure I did the green/white correct, all well it looks coolish. And was one of those annoying tricker-than-u-think-why-does-my-code/brain-keep-failing things. |
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Here's a cool animation (might take awhile to load, 128 frames of 512x512): start with a square w/ a verticle line that moves back and forth. For each resulting rectangle put a *horizontal* line that moves back and forth. Repeat for each subdivision, constantly flipping between verticle/horizontal. |
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nice, i always download yr gifs brother noll |
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those r wkd:) how do u rendr em? like a directory full of pics -> gif/movie or ... ?? |
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bits like hierarchical recursive bisection |
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I use the inefficient method of saving 128 or so numbered bmp files, highlight all 128 and drag drop all into gimp and save as a gif (gif used to be proprietary and python usually = headache to figure out byte file stuff.. maybe as designed because I don't really think the people who are farming us want programmers, they want drones that their corporatocracy can ransack. Call to drawthing() which has variables for number of sides, main radius, radius of spike on 1/3 of each side (can poke inward or outward), and how 'triple pasted' each is: draw circles in circles where their perimeters touch and each next circle's angle can turn, and a list of colors cycles each frame: stars animations paste near mouse position, each animation moves but jitters because the frame tends to move forward but sometimes moves back, and fades to random color: |
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nice animations w M w |
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You can insta-play it here w/o downloading: What I did here is weird nested time signatures, like say 5/3/7 would be like 1111 0 0 0 0 11 0 0 0 0 11 0 0 0 0 (so that's 3 sets of 5, then do 7 sets of THAT) So this is the overall pattern, then like 300 times I make a beat for one of those scales repeated 1-5 times with mutations each time. |
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Here's another 8 weird signature beats: each is the output from a single program that randomly selects a nested random/random/random time signature (like 7 groups of 4 groups of 5 etc) and in each loop iteration it pastes a random beat to one of those scales (9x chance smallest scale, 3x chance middle scale, 1x chance largest scale). The pasted beats are the main weakness since it's just like for a 7 beat [0,1,0,0,1,0,1], then it can mutate in randomly 1-5 repetitions. But it's just 0s and 1s, I'm trying to figure out how to automate melody but it's quite tricky. I think I'm getting somewhere though. You really have to analyze your own internal seemingly automatic brain behavior but turn it into a computer-understandable, logical algorithm, which is pretty hard since melody is more emotional than logical. |
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you explain everything that is going on like you truly understand it w M w. if you could fix the most interesting moments of those into repetitive patterns with a donk on it that would be top. |
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im just kidding, i added the donk part later, but i really think what i said. if softwares were able to create patterns fixing a single mutation there could me limitless possibilities |
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like when you really like whats going on you click on a stop button and loop that single part and extend it for the whole track or for parts of it, and take another mutation and loop it to other parts of the track, something like that |
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a stop motion, also quick to use tools to speed up/slow down parts of the track. i never seen a word about how shit to use are tempo tracks on software sequencers |
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may 2017 be the year of eristic feedback loops |
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fact: eristic feedback loops [apparent disorder (that creates apparent disorder)] are created by running a normal sample through a fractal complexification mechism known as recursion. repeatedly applying a function to itself generates an evolving set of sequential states that increasingly reflect the personality of the function being recursively called, but always in the context of the original sample the function was supplied with. your choice of input sample is like stephen wolfram picking his . |
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