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Posts posted by Cliff

  1. Would it make sense to add a custom function for the Perlin noise random number generator to OM library ? 

    I guess for musical context 1-dimensional suffices.


    Perlin noise is a kind of gradient noise invented by Ken Perlin around the end of the twentieth century and still currently heavily used in   computer graphics, most notably to procedurally generate textures or heightmaps. It has some nice features yielding smooth texture. The function might extend the usual (vector-smooth x (gen-white-noise y)) approach.


    There seems to be some (as far as I understand 2d) open-source implementations in CL (1, 2), I cannot judge as my LISP knowledge yet is too limited.

  2. @Stephane Boussuge: If I am not mistaken, you mentioned in your convention talk (First Opusmodus Convention 2021 - Day 2: Stéphane Boussuge : Motivic cell technique explorations with Opusmodus) that the code will become integrated into next OM version.


    Can you give a poster where it is. I searched for motivic / cell but maybe my search strategy is wrong.


    I am especially interested in the last section, in you demoed a piece fully made by random material and variation techniques.




  3. Say we have as base material 2 list sequences a and b in omn or other musical OM forms (i.e. pitch series), which are generated by some algorithm.

    There will be cases where you want to calculate on sets of this material.


    Is there a OM function which helps to calculate set operations for both?

    Foregive me if I missed something in the excellent docu.


    If not, consider to implement the 3 elementary types of set operations: 

    - union: the set with holds all elements of a and b

    - intersect: the set which holds the elements found in a and b, but excludes those which only occur in a resp. b. 

    - setdiff: the set which holds all elements in a which are not elements in b


    Needless to say that set functions will discard duplicates.

    I am sure there are LISP functions for this, but they probably won't generalize  to OM related data structure?





  4. I understand from initial testing, that currently rnd-sample works what statisticians call sampling with replacement.


    Is this correct (please forgive me if I missed something in the doc) ?


    I guess the current behavior covers most musical cases, as long as you want to get a sample which holds some mix of elements in SEQUENCE. There might be cases where you want a slightly different behaviour especially if N is close to length of SEQUENCE.


    If I am correct, I suggest to implement a parameter :replace (by default t (true) for backward compatibility) to define a behavior where the elements from SEQUENCE are not replaced.


    For :replace set to nil:

    If N exceeds length of SEQUENCE then an error is raised.

    If N equals the length of SEQUENCE then simply all elements are returned.




  5. While complaining about the state/progress on ARM M1 upgrade, Heres a honest Happy Customer statement on OM language:


    Everytime I learn a new function, I grow in understanding that OM is super powerful while still the language and syntax (once getting used to parathesis) is simple enough to not get distracted. More and more I feel to understand the intention why certain functions have been designed and how to apply them. A huge support is the good website and inline docu (probably the best I have ever seen).


    It dawns me that people who created the OM language and drive its evolution so long do really understand whats necessary for algorithmic composition.


    I feel privileged to participate to have daily insights while learning all these music-related concepts and enjoy it a lot.


    In my dayjob I am a Data-Scientist so maybe I will contribute some day with ideas not covered yet, not shure if they are musical as I am just hobbyist.


    Excellent, Thanks a lot.

    Keep the good work.




  6. Simple question from a non-professional hobby musician (using OM to learn music theory):

    I know that composing a melody over chord progression using mostly chord and partly appropriate scale pitches often sounds pleasing (sorry again I am a starter and my ears are not yet used to atonal music).

    I want to learn approaches to develop this in OM.


    Currently as starter I am fighting a bit with the steep learning curve to use OM.


    Therefore, my question: are there tutorials which could help me to understand which approaches exist in OM to accomplish a chord-first / melody-second approach?



  7. I have serious issues in recording the OM generated MIDI via IAC port to Cubase.

    I can reach the destination and clearly monitor the signal but Cubase records these signals not as seperate notes but rather collapses them together from t=0 to a meaningless giant chord. I already tried a lot of switches in Cubase settings and channel configs all in vain. Same IAC works when recorded on Bitwig.

    Problem on MacOSMonterey with Cubase Pro 11 and 12.


    Does someone in forum operate this configuration successfully?

    Had anybody experienced same issue and solved it?

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