Hi *,
Procedurally generated breakbeat + acid loops for your pleasure: http://mccormick.cx/dev/GarageAcidLab.zip
Run 0_START.pd, open up the volume + filter a bit, and then hit the big red button as often as you like. Press the green toggle to get beats. Watch out for feedback if your mic is turned up. I find about 1 out of 5 loops are quite pleasant to listen to, and then every now and then something truly genius turns up.
Chris.
Hi,
this is a nice patch! Had a lot of fun with it over the weekend.
Now I would like to connect your patch to a Wii controller and try
how it works...
There should be a wiimidi object or something like, that. How is the libary called? Where to download?
Im not that deep into PD yet, so maybe someone can help me out?
Thanx!
cmf
Am 26.09.2009 um 17:24 schrieb Chris McCormick:
Hi *,
Procedurally generated breakbeat + acid loops for your pleasure: http://mccormick.cx/dev/GarageAcidLab.zip
Run 0_START.pd, open up the volume + filter a bit, and then hit the
big red button as often as you like. Press the green toggle to get beats.
Watch out for feedback if your mic is turned up. I find about 1 out of 5 loops are
quite pleasant to listen to, and then every now and then something truly
genius turns up.Chris.
Pd-list@iem.at mailing list UNSUBSCRIBE and account-management -> http://lists.puredata.info/listinfo/pd-list
On Sun, Sep 27, 2009 at 05:20:21PM +0200, Christian Fischer wrote:
this is a nice patch! Had a lot of fun with it over the weekend.
Glad you had fun!
Now I would like to connect your patch to a Wii controller and try how it works...
There should be a wiimidi object or something like, that. How is the libary called? Where to download?
Im not that deep into PD yet, so maybe someone can help me out?
I think there are Wii-OSC libraries of various kinds. Not sure about wii midi, although Googling the words "wii midi" the top two hits are solutions for mac and then windows, so if you are running one of those operating systems it should not be too hard.
Once you have that working you can make an object in Pd like [ctlin] (right click it to get help) and connect it up to the number boxes in the patch, which are conveniently ranged from 0 to 127. It's a huge step sideways for acid and breakbeats.
Chris.
yeah, that's fun.
the logic behind the randomness is very good.
On Tue, Sep 29, 2009 at 01:03:55AM +0900, hard off wrote:
yeah, that's fun.
the logic behind the randomness is very good.
Thx hard off! I have found a good way to get appealing melodies is to have a bit of fractal stuff going on. One way to do this is to have the same melody at different speeds (double speed, half speed, triple speed, quadruple speed) laid over the top of eachother, and then switch randomly between the normal speed melody and the other speeds. It means you get melodies which are internally self similar and for some reason the brain likes that (well my brain does anyway).
Chris.
Hallo, Chris McCormick hat gesagt: // Chris McCormick wrote:
On Tue, Sep 29, 2009 at 01:03:55AM +0900, hard off wrote:
yeah, that's fun.
the logic behind the randomness is very good.
Thx hard off! I have found a good way to get appealing melodies is to have a bit of fractal stuff going on. One way to do this is to have the same melody at different speeds (double speed, half speed, triple speed, quadruple speed) laid over the top of eachother, and then switch randomly between the normal speed melody and the other speeds. It means you get melodies which are internally self similar and for some reason the brain likes that (well my brain does anyway).
Another addition may be the transformations described here: http://footils.org/cms/weblog/2009/mar/18/using-list-composition-pd/
In RjDj's "rj" library these are available in the [c_patternchange] object.
Ciao
Frank
On Wed, Sep 30, 2009 at 09:06:51AM +0200, Frank Barknecht wrote:
Hallo, Chris McCormick hat gesagt: // Chris McCormick wrote:
On Tue, Sep 29, 2009 at 01:03:55AM +0900, hard off wrote:
yeah, that's fun.
the logic behind the randomness is very good.
Thx hard off! I have found a good way to get appealing melodies is to have a bit of fractal stuff going on. One way to do this is to have the same melody at different speeds (double speed, half speed, triple speed, quadruple speed) laid over the top of eachother, and then switch randomly between the normal speed melody and the other speeds. It means you get melodies which are internally self similar and for some reason the brain likes that (well my brain does anyway).
Another addition may be the transformations described here: http://footils.org/cms/weblog/2009/mar/18/using-list-composition-pd/
In RjDj's "rj" library these are available in the [c_patternchange] object.
Oh yeah, I was going to mention that too, thanks Frank. [c_patternchange] is a really awesome object! It's basically Bach in a box.
Chris.
On Tue, 29 Sep 2009, Chris McCormick wrote:
Thx hard off! I have found a good way to get appealing melodies is to have a bit of fractal stuff going on. One way to do this is to have the same melody at different speeds (double speed, half speed, triple speed, quadruple speed) laid over the top of eachother, and then switch randomly between the normal speed melody and the other speeds. It means you get melodies which are internally self similar and for some reason the brain likes that (well my brain does anyway).
Hmmm, can this be called self-similar? well, if you do have speeds 0.5, 1.0, 2.0 and 4.0 at once, then doubling the speed of the whole thing will cause the speeds to increase speeds to 1.0, 2.0, 4.0, 8.0, so with 3 out 4 speeds (or 3 out of 5) the system displays a large amount of approximative self-similarity, but if you add 3.0, 5.0, etc. then depending on which ones you actually choose, it may match much less. Usually, it's called self-similar when the whole thing is equal to a simply transformed (e.g. uniformly scaled) version of itself, but I'd gladly extend it to not-exactly-equal things as well... as long as it's more equal than non-equal...
In general, exact powers are a key concept in getting more self-similarity... so for example, you could use just a bunch of powers of two, but if you do use three as a multiplier, use it multiplied by each of those powers of two, and also use many powers of three multiplied by each of those powers of three. This would be more self-similar but it doesn't mean that it'd be any easier to follow. It seems that powers of 2 are a lot, lot easier to think about than powers of 3, 5, 7, ...
otherwise, there's not just self-similar patterns that stimulate the mind: also perfect harmonics do (just intonation, etc). so if you use the speeds 0.5, 1.0, 2.0, 3.0, 4.0 at once, it's like using the harmonics 1,2,4,6,8 at once in a timbre, or like making a chord of four consecutive fundamentals and a fifth. (actually, unrolled, that's degrees I, VIII, XV, XIX and XXII).
On a related note (pun intended), music history started with a predominance of just intonations, because that's what struck a c(h)ord in the mind at first, because it's made of perfect harmonics, but then the less-harmonically-perfect equal-intonation has largely replaced it, because equal-intonation is more self-similar than just-intonation is! Here, self-similarity is important because it allows transpositions of the same melody to appear more closely related.
Hoping that those ideas will in turn give you some ideas of how you could tweak your list of speeds, or come up with any other new concepts.
_ _ __ ___ _____ ________ _____________ _____________________ ... | Mathieu Bouchard, Montréal, Québec. téléphone: +1.514.383.3801
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Chris McCormick -
Christian Fischer -
Frank Barknecht -
hard off -
Mathieu Bouchard