[PD] Some music created with puredata
chris at mccormick.cx
Wed Jan 5 07:05:14 CET 2005
> Message: 1
> Date: Tue, 4 Jan 2005 12:09:25 +0100
> From: Frank Barknecht <fbar at footils.org>
> To: pd-list at iem.at
> Subject: Re: [PD] Some music created with puredata
> > my philosophy is sort opposite to your "only one border crossing". My
> > GOP patches are total sluts and share all information via $1-named
> > receives.
> > This means that [s-moogfilter~ drumf] can receive cutoff value by
> > [s-ucctl 9 drumf-cutoff] (assigns knob 9 to drumf cutoff).
> I decided against this philosophy, because the rradical patches are
> intended as "libraries", too, so I want them to be as non-intrusive
> into peoples existing patches as possible. However there still are
> some kind of global sends, too, by using the OSC-formatted messages.
It's probably a better idea. My GOP patches were started shortly
before you announced rradical. One day I'll convert them.
> I used this extensively in my UC33-enabled performance here:
Other people's patches always look so confusing.
My sequencing is done using the abstraction [s-mseq] which turns a
number in to a base-n encoded pattern. For example:
[s-mseq 2 8 71] will take the number 71, treat it as an 8 beat bar of
base-2 encoded beat. this means you'll get:
1 0 1 0 0 0 1 0
Which sounds nice as the bass drum component of a hip hop or drum and
bass beat at 180 bpm. What's cool about this is that I can automatically
express any basic drum beat as three integers (one for hi-hat, one
for snare, one for bass drum). It makes algorithmic composition really
nifty. I can set up 'attractors' which are nice sounding vectors on the
three dimensional area of all possible snare beats, hat beats, and bass
drum beats and then have an equation which flies between these attractors
to make wicked sounding transitions.
You can infact do the same thing for notes by using base-4 or base-5 and
assigning each possible resulting umber to a note. I've actually found
that by inputting a random number into a base-5 sequence you more often
than not get an aesthetically pleasing melody out the other end.
> As I try to not look at the screen much or at all when performing,
But how do you play solitare without looking at the screen?
chris at mccormick.cx
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