[PD] Pd "monosymphonia"

[Andrew Faraday]

[range] is one of those objects I don't strictly need, but use for screen real-estate and speedy coding. It is cheating a little, mind.
All the generated notes are kept, so they do have to be stored somewhere, I do realize that this could be a single, expanding array. 
And yes, I did mostly share this because I felt it was quite an interesting bit of generative work... Now I just need somewhere to exhibit it. 

> Date: Mon, 27 Jun 2011 07:50:43 +0100
> From: padawan12 at obiwannabe.co.uk
> To: pd-list at iem.at
> Subject: Re: [PD] Pd "monosymphonia"
> 
> 
> 
> Hi Andrew,
> 
> That was very interesting to listen to to. Thanks
> for sharing it. 
> 
> A couple of thoughts, though I may be missing
> some important point; since you only keep a scope 
> of the last 3 notes you could use float boxes
> instead of creating tables on the fly. Also, 
> the concept seems to be a base N counter, so
> approaching this starting with an up-down counter
> might simplify it.
> 
> Also [range] seems to be missing for me but easily
> fixed with a multiply and an add.
> 
> best
> andy.
> 
> On Sun, 26 Jun 2011 00:32:27 +0100
> Andrew Faraday <jbturgid at hotmail.com> wrote:
> 
> > 
> > Hey Pders
> > I've been messing with the idea of combining dynamic patching and generative music. And after a few hours of work I've come up with a patch (attached) which uses some rules to build a randomly generated piece of music who's result I'm rather fond of. 
> > On opening the patch, a 4-number array is generated, with a choice of 1 single note to choose from. It's played by a simple sine oscillator, then a second iteration generates a second array, choosing from 2 notes (adding one a semitone above), plays the two arrays in order, then generates a third, with 3 notes to choose from, and so on. 
> > As the piece progresses, the choice of notes playing through a sequence that's always a low drone, expanding out to a more tangible mid-range, usually coming up with melodic fragments, and then starting to use some higher-pitched sounds. And all the time the feedback on a delay unit on the output, of the system. 
> > When the range of notes reaches 127, the feedback jumps from 60% to 90%, changing the mood of the piece significantly, building to a harsh climax, each frequency range of notes lasting into the next and gains more significance. Like the perceived voices vying for position. 
> > Eventually, when a note above midi 127 is played, the synth stops, and the delay tail gradually fades out. 
> > I've found this to be an unusually structured and dramatic piece of generative patching. Initially a low drone, which pushes out and explores into melodies, building ideas, and being repeatedly pushed back to it's initial form. Then building into a repeating and expanding set of phases. getting louder and busier. Then a change brings this to a head, and signifies to the audience that the piece could end on any phase, building excitment to an inevitable but always unexpected end. 
> > 
> > 
> > Sorry, I've written quite a lot about this, but I thought the PD list might be interested... If anyone could spare about 15 minutes to listen to the patch in action, I'd love to hear what you think of the artistic result.
> > 
> > Thanks in advance.
> > Andrew 
> > P.S. I do realize that I could clean this up a great deal. The addition of [table] objects could just as easily be a single expanding array, I could hide modules away in sub patches and the sliders used for visualization could be more efficiently done with gem.  		 	   		  
> 
> -- 
> Andy Farnell <padawan12 at obiwannabe.co.uk>
> 
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