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  1. Today
  2. AM

    MIDI-pitch-bend-messages

    the only answer i got was that it works with "midi pitch bend" and with MAX. ConTimbre: "With Max you can just send floating point pitches, and with MIDI you can either send pitch bend values, but that always affects the whole voice. But you can also detune every key and, for example, use several Voices with the same timbre, but they have mutually detuned keyboards to get more than 128 pitches. " this will probably not solve the problem. maybe it would be best if OPMO's and ConTimbre's guys communicate directly? that would be in the interest of both companies...(?)
  3. Yesterday
  4. Andy

    IDE..powerful stuff

    So I didn't really know what an IDE was..it's an Integrated Development Environment..is that right? Well anyhow I just wanted to share my enthusiasm for Opusmodus' idea of an integrated workspace...being able to have pdf books available full screen with a shortcut is amazing...and pictures and audio etc. I am a big fan of Wooden Books for instance and bam..there they are in my composing space for reference. I'm kind of thinking this is how all "composing" software should be..but mostly now it seems to me to be about a graphical interface that is irrelevant alongside a multitrack recorder paradigm. Anyhow happy to be on this journey (())
  5. opmo

    Circle-Pitch-Plot

    The CIRCLE-RHYTHM-PLOT will use dash circle ("time like") for a better distinction between the CIRCLE-PITCH-PLOT.
  6. JulioHerrlein

    Circle-Pitch-Plot

    Perfect, SB ! Best, Julio
  7. Last week
  8. Andy

    Background colour

    OK I have got to the bottom of this! The demo will not allow changing of background colours it seems. As soon as I put in the serial, colours in the background of the Composer pane can be changed.
  9. AM

    MIDI-pitch-bend-messages

    i have written them (CT) a mail now to get some more information
  10. opmo

    MIDI-pitch-bend-messages

    There is no much information about the controllers etc...
  11. AM

    MIDI-pitch-bend-messages

    program-changes are no problem but how to make pitch-bend via opusmodus....? here is the MANUAL: ePlayer_Manual_Mac_english.pdf i know, but i will need microtonal-NOTATION
  12. AM

    gen-rotate extension

    yes, of course - from "BOTs" to a lot of small simple FUNCTIONS... but: not very well/smart coded (🙄) - i'm musician but only an "amateur programmer" with few experience - and it's really NOT well documentated for other users. and another point, i have no idea how do that professionally with GUTHUB and these installation-things 😕 as ORDINARY text - no problem. perhaps i will share it like that on my website...
  13. opmo

    MIDI-pitch-bend-messages

    Try to make a new sound library for conTimbre samples. Check the controllers in the conTimbre manual and create a new def-sound-set file. You can use as many controllers you need for a program.
  14. AM

    MIDI-pitch-bend-messages

    - it works not as it should for conTimbre. conTimbre works well with SIBELIUS (via pitch-bend-messages in the score like ~B0,64 or ~B0,90, like that) => no idea what i shoud do in OPMO? - TUNING: don't work with conTimbre - another thing is, i can't work well with OPMO+microtonality, when it's not possible to have microtonal-notation => so i will do it in SIBELIUS
  15. opmo

    MIDI-pitch-bend-messages

    You can assign any controller to any pitch. The :tuning can be used as well. You will find a few examples about tuning and controllers in the "Howto" section. There is microtonal possibility but it will not display in the notation. There are few microtonal examples in the home page "Made in Opusmodus" and in Forums:
  16. Stephane Boussuge

    Circle-Pitch-Plot

    Associate a list of symbols (names or better, numbers) to this list of rhythms and map symbols to rhythm for structure. Look in opmo examples folder the Quartet 1b from Nigel Morgan who use this technique with SUBSTITUTE-MAP. S.
  17. JulioHerrlein

    Circle-Pitch-Plot

    Great. I wish I had it by the time of writing my doctoral dissertation. It would be easier. Very inspiring to visualize the rhythms. What about a looping function, allowing to repeat the material X times? Many of these Euclidean Rhythm are conceived to be repeating ostinatos. Or just the gen-repeat can work... Best Julio
  18. opmo

    Circle-Pitch-Plot

    Euclidean Rhythm (circle-rhythm-plot (gen-binary-euclidean 1 16 4 12) :point-radius 4 :points 16)
  19. shiraishi

    shiraishi

  20. torstenanders

    gen-rotate extension

    I agree that this is useful, and therefore I also implemented a similar functionality in my function rotate-omn 🙂 You can find its documentation at https://tanders.github.io/tot/sources/form.html#_g229430 and download the whole library at https://github.com/tanders/tot. BTW: You meanwhile should also have quite a sizeable collection of custom functions for Opusmodus. While not sharing them together in some kind of library as well? Best, Torsten
  21. JulioHerrlein

    Giant Steps Improvisation generator

    Hello, All The idea is to generate some improvised lines over the Giant Steps progression. Every time the code is evaluated, a different comping and improvisation is generated. In this first effort, the improvisation is generated by the arpeggios resultating from the voice-leading of the progression. After that, I want to code some superimpositions of other chord substitutions. This is something I came with after studying the Harmonic-Path Function ( through some example by Stephane Boussuge) I also got some Drums from Jazz Trio, by Janusz Podrazik. Below is the commented code and an mp3 showing the result. All the best, Julio gsteps_GEN2.mp3 ;; Giant Steps Progression provided as Harmonic Path. ;; Some chords are repeated (the chords that last more time). (setf harmpath '((h (b3 maj7) (d3 7)) (h (g3 maj7) (bb3 7)) (h (eb3 maj7) (eb3 maj7)) (h (a3 m7) (d3 7)) (h (g3 maj7) (bb3 7)) (h (eb3 maj7) (gb3 7)) (h (b3 maj7) (b3 maj7)) (h (f3 m7) (bb3 7)) (h (eb3 maj7) (eb3 maj7)) (h (a3 m7) (d3 7)) (h (g3 maj7) (g3 maj7)) (h (cs3 m7) (fs3 7)) (h (b3 maj7) (b3 maj7)) (h (f3 m7) (bb3 7)) (h (eb maj7) (eb maj7)) (h (cs3 m7) (fs3 7))) ;; Just the Roots from the chord progression: for building the bassline later. basshpath (pitch-demix 4 harmpath) ;; Taking out the rhythm information of the bassline OMN, ;; organizing sublist of 1 element for repeating the tones twice, ;; preparing for another rhythm purposes. basspitches (gen-repeat 6 (flatten (gen-repeat '(2) (gen-divide 1 (flatten (omn :pitch (ambitus '(e1 g2) basshpath))))))) ;; Using the same harmonic path as a voice leading comping and repeating it ;; in the same way I did with the bass line (twice each chord). ;; Bass line and comping will have the same rhythm kicks. comping (gen-repeat '(2) (gen-divide 1 (flatten (omn :pitch (chord-closest-path '(b3c4e4g4) '((h (b3 maj7) (d3 7)) (h (g3 maj7) (bb3 7)) (h (eb3 maj7) (eb3 maj7)) (h (a3 m7) (d3 7)) (h (g3 maj7) (bb3 7)) (h (eb3 maj7) (gb3 7)) (h (b3 maj7) (b3 maj7)) (h (f3 m7) (bb3 7)) (h (eb3 maj7) (eb3 maj7)) (h (a3 m7) (d3 7)) (h (g3 maj7) (g3 maj7)) (h (cs3 m7) (fs3 7)) (h (b3 maj7) (b3 maj7)) (h (f3 m7) (bb3 7)) (h (eb maj7) (eb maj7)) (h (cs3 m7) (fs3 7)))))))) ;; MELODIZANDO HAR-PATH. Melodizing the same voice-leading of the comping ;; to get the arpeggios for soloing. melodia (flatten (pitch-melodize (chord-closest-path '(b3c4e4g4) '((h (b3 maj7) (d3 7)) (h (g3 maj7) (bb3 7)) (h (eb3 maj7) (eb3 maj7)) (h (a3 m7) (d3 7)) (h (g3 maj7) (bb3 7)) (h (eb3 maj7) (gb3 7)) (h (b3 maj7) (b3 maj7)) (h (f3 m7) (bb3 7)) (h (eb3 maj7) (eb3 maj7)) (h (a3 m7) (d3 7)) (h (g3 maj7) (g3 maj7)) (h (cs3 m7) (fs3 7)) (h (b3 maj7) (b3 maj7)) (h (f3 m7) (bb3 7)) (h (eb maj7) (eb maj7)) (h (cs3 m7) (fs3 7)))))) ;; Repeating the melody list some times. gstepspitches (gen-repeat 6 (flatten (omn :pitch melodia))) ) ;; Defining and randomizing rhythms. (setf r1 (rnd-order '((s s s s -s -s -s -s))) r2 (rnd-order '((s s s s -s -s -s -s))) r3 (rnd-order '((s s s s -s -s -s -s))) r4 (rnd-order '((s s s s -s -s -s -s))) r5 (rnd-order '((s s s s -s -s -s -s))) r6 (rnd-order '((s s s s -s -s -s -s))) r7 (rnd-order '((s s s s -s -s -s -s))) r8 (rnd-order '((s s s s -s -s -s -s))) r9 (rnd-order '((s -s -s -s))) r9b (rnd-order '((s -s -s -s))) r10 '(s -s -s -s) r11 (rnd-order '((s s s -s))) r12 '(-s -s -s -s) rhy2 (flatten (apply-eval (rnd-order '((r1 r2 r3 r4 r5 r6 r7 r8 r1 r2 r3 r4 r5 r6 r7 r8 r1 r2 r3 r4 r5 r6 r7 r8 r1 r2 r3 r4 r5 r6 r7 r8 r1 r2 r3 r4 r5 r6 r7 r8 r1 r2 r3 r4 r5 r6 r7 r8))))) rhyinv (length-invert rhy2) bdbsch (gen-repeat 6 (flatten (apply-eval (rnd-order '((r10 r9 r10 r9b r9 r10 r9 r10 r9b r9 r10 r9 r10 r9b r9 r10 r9 r10 r9b r9 r10 r9 r10 r9b r9 r10 r9 r10 r9b r9 r10 r9 r10 r9b r9 r10 r9 r10 r9b r9 r10 r9 r10 r9b r9))))))) ;; Setting Up OMN for each instrument. (setf gssolo (make-omn :length rhy2 :pitch gstepspitches :velocity (rnd-order'(mf p f p ff mf))) bassline (make-omn :length bdbsch :pitch basspitches :velocity (rnd-order'(mf p f p ff mf))) pnocomp (make-omn :length bdbsch :pitch comping :velocity (rnd-order'(mf p f p ff mf))) ) ;;--------------------------------------------------------- ;; Some Drums ;; (From Janusz Jazz Trio, with some tweaks in the hats) ;;--------------------------------------------------------- (setf hh1 (length-span 8/4 '(-s gs2 ff))) ;(setf oh1 (length-span 8/4 '(-s - bb2 ff -))) ;(setf ch1 (length-span 8/4 '(s fs2 ff -))) (setf sn1 (length-span 8/4 '(-e d2 - - a2 - - s = q f2 e))) (setf bd1 (length-span 8/4 '(-s b1 ff e c2 = -e. e = -e. -s))) (setf hh (rnd-order (gen-repeat 18 (list hh1)))) ;(setf oh (rnd-order (gen-repeat 18 (list oh1)))) ;(setf ch (rnd-order (gen-repeat 18 (list ch1)))) (setf sn (pitch-figurate '(3 2) (rnd-order (gen-repeat 18 (list sn1))) :interval '(-1 -2 14))) (setf bd (rnd-order (gen-repeat 18 (list bd1)))) ;; ------- SCORE (adapted from Harmonic Path Study, Boussuge) (def-score giant-steps-vl-improv (:title "giant-steps-vl-improv" :composer "Julio Herrlein" :copyright "Copyright © 2018 HERRLEIN" :key-signature '(c maj) :time-signature '(4 4) :tempo 124 :ignore-velocity t :layout (list (xylophone-single-layout 'i1) (guitar-layout 'i2) (contrabass-layout 'i3))) (i1 :omn gssolo :channel 1 :sound 'gm :program 'Clarinet :volume 100) (i2 :omn pnocomp :channel 2 :sound 'gm :program 'Electric-Piano-1 :volume 80) (i3 :omn bassline :channel 4 :sound 'gm :program 'Electric-Bass-Finger :volume 100) (hh :omn hh :channel 10 :sound 'gm :program 0 :volume 70) ;(oh :omn oh) ;(ch :omn oh) (sn :omn sn) (bd :omn bd) )
  22. perhaps OPMO could extend its GEN-ROTATE like that (or use this CODE for it)... not only single-steps, also a list of steps... ;;; SIMPLE FUNCTION (defun gen-rotate* (alist seq) (loop for i in alist collect (setf seq (gen-rotate i seq)))) ;;; EXAMPLES (list-plot (flatten (gen-rotate* '(1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18) '(1 2 3 4 5 6 7 8 9 10))) :join-points t :point-radius 0 :style :fill) (list-plot (gen-rotate* '(9 8 7 6 5 4 3 2 1) '(1 2 3 4 5 6 7 8 9 10)) :join-points t :point-radius 0 :style :fill) (list-plot (flatten (gen-rotate* '(1 2 3 4 5 4 3 2 1) '(1 2 3 4 5 6 7 8 9 10))) :join-points t :point-radius 0 :style :fill) (list-plot (gen-rotate* '(1 2 3 4 5 4 3 2 1) '(1 2 3 4 5 6 7 8 9 10)) :join-points t :point-radius 0 :style :fill)
  23. Andy

    Andy

  24. JulioHerrlein

    Circle-Pitch-Plot

    Looking Forward !!! Any release date ? All the best !! 😀 Or maybe a Beta Version to the Colaborators ? 😎😎
  25. JulioHerrlein

    Circle-Pitch-Plot

    Really cool, Janusz! Nice to have different necklace sizes. According to Toussaint, the most widespread cycle is the 16 step cycle, typical in drum machines. All the best! Julio
  26. o_e

    Circle-Pitch-Plot

    You surely know that..? http://www.dynamictonality.com/xronomorph.htm Maybe you can get some inspiration from it..
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