Stephane Boussuge

Hi David, I am currently uploading the videos and performing the final checks, so the new course "5 Opusmodus Lessons" will be online in a few days. If you're referring to the course "Designing Generative Orchestral Templates with OM," it has been available online since this summer. Best Stephane

Check your spams, I already replied 2 time to you yesterday sending back to you 2 examples. Best Stephane

Please write to me directly and send your questions to boussuge@opusmodus.com.

Hi, I've just finished a new pack of videos lessons for Composerworkshop, this pack will give you some powerful tools and understanding of the power of OM. Here's the course description: 5 Opusmodus lessons: This set of 5 Opusmodus lessons dive into some advanced possibilities of the Opusmodus Music Composition Environment, bringing an exploration of techniques such as Shapes driven tessiture, dynamics and orchestration control, Algorithmic dictum generation for counterpoint, Process driven composition, Spectral harmony exploration and exploration of different pitch distributions across instrumental parts. Who this course is for This course is for moderate to advanced users of Opusmodus. It is highly recommended to get all the basics of Opusmodus before to start this course. What you'll learn in this course: Course 1: Algorithmic Dictum Generation for Counterpoint What You Will Learn: - Understand the structure and utility of counterpoint functions in Opusmodus. - How to manually create simple dictums, a list of pattern numbers and optional parameters. - Algorithmic methods for generating lists of pattern numbers and other parameters for Counterpoint function. - Techniques to assemble the generated material into a usable and readable dictum. - Apply your algorithmically generated dictum in creating a score section using algorithmically designed patterns. Course 2: Pitch Distribution across several instrumental parts What You Will Learn: - How to manually distribute a pitch rowan other pitch material across instrumental parts and understand the underlying logic. - Techniques for algorithmic distribution from top to bottom and vice versa. - Apply rhythm and pitch variations for richer musical output. - Working with various pitch materials like tone rows, Slonimsky patterns, triadic materials, and noise-generated pitch material. Course 3: Iterated Process Driven Composition What You Will Learn: - Introduction to Process-Driven Composition and how to achieve it in Opusmodus. - Utility function definitions for adding rehearsal marks and other elements automatically to generated scores. - Building a process iterations to generate several sections of a piece in one pass based on rules. - How to define your algorithmic process and extract individual instrumental parts. - Implement tempo changes and time signature adjustments. Course 4: Shapes/Vector driven control of Tessiture, Dynamic, Pitch and Orchestration. What You Will Learn: - Techniques for generating pitch material based on smoothed white-noise. - Algorithmic rhythm generation and control through provided density-length functions. - Methods for dynamic markings and ornamentation of repeated notes. - Assemble sections into a complete piece while applying orchestration techniques. Course 5: Spectral Harmony Exploration What You Will Learn: - Techniques for spectral pitch remapping. - Methods for vector generation and pitch contour shaping. - How to import and manipulate spectral data for pitch mapping. - Techniques for ambitus constraint, frames filtering and chord generation in spectral frames. - Learn to apply dynamic markings, articulations, and the play-mute system to your composition. By the end of this course series, you will have a strong understanding of advanced algorithmic composition techniques using Opusmodus. You'll be equipped with the skills to generate sophisticated compositions using an algorithmic approach, taking advantage of Opusmodus's rich set of functions and utilities.

I don't know, sorry.

We need the variable ry7 not provided here to help you. S.

Here's an example of sampler design: (sc:defsynth stf-sampler1 ((buffer 0) (rate 1) (start 0) (amp 0.5) (out 0)) (let ( (sig (sc:play-buf.ar 2 buffer (* rate (sc:buf-rate-scale.ir buffer)) :start-pos (* start (sc:buf-frames.ir buffer)) :act :free))) (sc:out.ar out (* amp sig)))) (defparameter sample1 (sc:buffer-read "/Users/stephaneboussuge/Samples/tibetan-singing-bowl.wav" :bufnum 0)) ;(sc:synth :stf-sampler1) ;(sc:synth :stf-sampler1 :rate 0.5) ;(sc:synth :stf-sampler1 :rate 2) (sc:stop) Hope it helps. Best S.

Hi, i have a tendency to use tonality-map with pitch-class sets in that case, something like: (tonality-map '((0 2 4 5 7 9 10) :map 'octave) mat3) => (c4 d4 e4 f4 g4 a4 bb4 c5) S.

A B D are correct. E and H could work under certain condition (pre-processing, flatten-sublist etc...) S.

New short piece for piano. stephaneboussuge · Prelude pour Piano 160923

Hi; here's a possible solution: (progn (setf noise (gen-noise 50 :seed 425)) (setf env1 '(50 51 52 53 54)) (setf env2 '(60 59 58 57 56)) (list-plot (vector-to-envelope2 env1 env2 noise)) ) S.

Playing a bit, a short experiment with the new lakes function from OM. S. PreludePourPiano070923opmo.opmo Prelude 070923Rev1.mp3

Add articulations after the merge. s.

I've made a little string trio score to test this fun new function. Here it is attached to this post. Enjoy ! S. Mouvement de Trio pour cordes (etude fn rnd-rest).mp3 String Trio.opmo

Wonderful function, I love it !

I think this error is normal in that case because you are using it on a single list. In that case you have to use (rnd-rest 1 mat2 :omn t) , don't put the 1 into parenthesis. this is normal Opusmodus syntax. Or if you want to keep you 1 in parenthesis do: (setf mat2 '((w. f3 p arp q g3 ff stacc+marc w. a3 p arp q c4 ff stacc+marc))) (rnd-rest '(1) mat2 :omn t) It is normal if you don't use correct syntax you get error. S.

Very nice ! Great job !!! S.

And i forgot to mention: length-weight (setf mat '((e. gs4 mf e g4 g4 e. eb4 e e4 eb4 fs4) (e. e4 mf eb4 fs4 d4 q f4) (e. f4 mf e g4 gs4 e. bb4 e e4 gs4 d4) (h e4 mf gs4))) (setf with-rest (length-weight mat)) Also the Opusmodus binary functions could help a lot to build some process to "restify" some notes. SB.

Hi Rodrigo, You can use the function length-to-rest: (length-to-rest 'e '(q c4 e cs4 e d4 s e4 f4 fs4 g4 q gs4 e a4 s bb4 b4) :swallow nil :type 'under) => (q c4 -e - -s - - - q cs4 -e -s -) You can use length-rest-series: (length-rest-series '(1 2 1 3 2 4) '((1/8 1/8 1/8) (1/4 1/4 1/4 1/4 1/4) (1/16 1/16 1/16 1/16))) => ((1/8 -1/8 1/8) (1/4 -1/4 1/4 -1/4 1/4) (1/16 1/16 -1/16 1/16)) you may also use the wonderful density function. to display just few possibilities... Best ! S.

May be: (setf transp (gen-transition 0 7 7 1 :rounded t)) (setf set '(g4a4)) (setf out (pitch-transpose-n transp (gen-trim (length transp) set))) SB.

Hi, I need a bit of help. I would love to use cl-patterns which is a wonderful real time tool for live coding with cl-collider. I've tried that example but doesn't works in fact works but no audio output. If somebody more experienced than me could help here, it would be nice ! (sc:defsynth sine-kick ((freq 440) (time 0.25) (amp 0.5) (out 0)) (let* ((env (sc:env-gen.kr (sc:env (list 0 1 1 0) (list 0.001 time 0.3)) :act :free)) (fenv (sc:env-gen.kr (sc:env (list 1 0) (list time)) :level-scale freq)) (sig (sc:sin-osc.ar fenv 0 (* env 0.2)))) (sc:out.ar out (sc:pan2.ar sig 0 amp)))) (cl-patterns:pb :kick :embed (cl-patterns:pcycles "o-o-------oo----") :instrument :sine-kick :dur 1/4 :quant 4) (cl-patterns:play :kick) Best salutations to the always growing Opusmodus users community ! S.