JulioHerrlein

Very Cool !! The flute sound is also from VCV ?
Nice !

Thanks, Stephane ! Best !

No, that's the same on Mac you evaluate and have to press start to hear.
 
 

What I call "scenes" are the .opmo files/score into your workspace.
You can create one for introduction and another for part B , another one for a transition to another one part c for example, all with different process and algorithms.
 
When you do your Live-coding sessions you can switch from one of this .opmo file to another one evaluating and tweaking them.
 
 

the good thing when using live coding in one workspace with several scores is you can use the multiples scores like "scenes" and switch from one scene to other in real time.
 
 

To use Live Coding in individual workspace give you the control of the scores. 

Thanks for the information !
I was trying Opusmodus with some samplers, mixing audio and midi.
The timing of Opusmodus is excellent. Everything in sync.
Thank you.
Best !
Julio
Maybe a good idea would be having multiple instances of live coding in the same workspace, with detachable moving windows for the live code instruments.
I was trying in the same workspace... Thank you !

Hi Julio,
 
did you try with different workspaces ?
 
Stephane

To use multiply instances of Live Coding you need to use multiply workspaces.
 
 

In my humble opinion, you can do anything you can rationalize in terms of lists, functions and algorithms. That´s the basic concept. There are idiomatic, stylistic things that demands more revision due to its "not so automatic" nature. Some styles have a blend of automatic procedures and some touch of imprecise things. Maybe what I call "imprecise" here is somewhat of a higher order in terms of language, something that not depends necessarily in well formed lists or well formed syntax. Some of these high order language aspects can be captured by an AI trained with a specific idiomatic database based on common practice procedures for example. Or simply made manually case by case... Meaning is not captured by lists... Our cognition of form neither... Generating and juxtaposing materials does not create meaning. It´s a necessary step, but it´s not all...
 
melodize and pitch-melodize are similar but not the same. Check the docs.

Beautiful !
Any chance to get the code ?
Happy 2024, Stephane !

Beautiful !
Any chance to get the code ?
Happy 2024, Stephane !

Best wishes to you all, happy coding and Happy New year.
 
Janusz
 
P.S. Opusmodus AI expert 🙂

Raw algorithmic output from OM for my score "Eclat pour petit ensemble"
 
 

Video about 5-note voicings with drop-voicing function (in portuguese)
 
 

A.S. Mailbox
(three serial miniatures for string quartet)
dur: circa 4´30
Composer: Julio HERRLEIN

Porto Alegre - Jun/2021
 
I. Email from Anton
II. [SPAM] Re: Hauer
III. Letter from Alban
 
A.S. (Arnold Schoenberg) Mailbox are a set of three miniatures for string quartet using 12-tone serial techniques and parametric composition processes. The idea is a imaginary mailbox of Schoenberg dialogues with his main disciples Webern and Berg, and also Hauer, his rival in the creation of a 12-tone composition method.
 
All the pieces are (loosely) based in the same all interval  12-tone row:
c4 eb4 a4 db4 b4 ab4 g4 d4 e4 f4 bb4 gb4
 
PERFORMANCE NOTE: The score and parts accidentals favor the FLATS (b) for easier enharmonic reading. 

Some of the uses of the tone row are also related to the rhythmic span of the orchestration and the algorithmic method for spreading the tones through the lisp lists in the Opusmodus software.

The first miniature “Email from Anton” are inspired by the pointilistic textures used by Webern in his op. 28. In a later section, the textures are intensified by melodic figures and tremolos across the instruments of the quartet.

The second miniature “[SPAM] Re: Hauer” is an imaginary email from Hauer  (lost in “Arnie´s” spam box…) where he shows to A.S. his klangreihen method (as actually described by Dominik SEDIVÝ, 2011, pp. 25-30) to harmonize and make a smooth parsimonious voice-leading of a 12-tone row. 
 
The last piece “Letter from Alban” set up some 6-attack melodic motifs based on the hexachords of the basic row, combined with rhythmic ostinato textures of accompaniment and sweet chords derived from retrograde version of the row.
 
All the best !! Thanks to everyone in this forum who have patience with me !

     Julio Herrlein, 2021/JUNE

I discovered today that you can use just length-diminution to expand OR contract rhythms, just by using fractions. You can use ti to make some proportional metric modulation stuff.
 
Here are some examples. 
ORIGINAL
(length-diminution 1/1 '(q e e e e s s s s))

CONTRACT
(length-diminution 2/1 '(q e e e e s s s s))

EXPAND
(length-diminution 1/2 '(q e e e e s s s s))

 
(length-diminution 1/3 '(q e e e e s s s s))

(length-diminution 3/2 '(q e e e e s s s s))
 

 
(length-diminution 3/4 '(q e e e e s s s s))

 
And so on !!
This is cool !
Best,
Julio
 

Fixed in 3.0.29130
 
'((3h c4 e4 g4 h c4e4g4b4) (-q q c5 3h a4 g4 e4))

Video about 5-note voicings with drop-voicing function (in portuguese)
 
 

Video about 5-note voicings with drop-voicing function (in portuguese)
 
 

Looks like a bug.

Both sorting processes can be implemented. It´s common in every operational system, or file explorer.
Best,
Julio
Sometimes, I take a vacancy from using Opusmodus and I have a hard time finding things... Actually, I´m a little crazy, but softwares are also supposed to help crazy people.

Yes, I´m already doing it. But´s it´s a kind of weird hack...
But sorting by date in all workspaces is still desirable...
Thanks !

Most of the users were asking about alphanumerical sort. This is what we did adding numerical sort as well.

The Workspace Navigator sorts files alphabetically. If you want a file to appear at the top as a working file, add '00.' at the beginning of the filename.