loopyc

Your "pedagogical examples" ALWAYS worked through and well-appreciated here Stephane, thank you ;-)

Lovely piece Stephane ;-) Fibonacci and Kandinsky, 'these are a few of my favorite things' :) ...

Oh, you are welcome...so glad you both found it interesting/useful :) I have recently been rediscovering it's potentials using MIDI 'Learn'...connecting the 'rotation', pitch values, etc to external LFO's (I use Numerology 4 Pro) makes for some interesting morphing rhythm studies ;-) ...

Hey Julio, I was revisiting some old interests and remembered your post...have you come across these particular related presentations and software? https://theconversation.com/how-a-little-mathematics-can-help-create-some-beautiful-music-61812 http://www.dynamictonality.com/xronomorph.htm ...

Wow! Just installed and ran some examples from your docs...thank you Torsten for sharing this, and all your hard work to document and help install. I will simply echo "lviklund" and say, "This is brilliant!" ;-)

As a novice, I have run into this in my experimentations, and chalked it up to, well...being a novice! ;-) I have imagined it has something to do with having a valid formatting maintained from audition to complete score (given that 'audition' allows direct export to the various formats). And like you, I would suspect it would be the standardized notation requirements..but would be interested to know more (and any workarounds as to 'audition' and thus 'export' options), as the potential of "arbitrary non-regular rhythms" in Opusmodus remains a strong interest of mine for similar reasons as yours ;-)

Eight hours later! Spent all day reviewing related Opusumodus functions/documentation and researching your concepts and references...a very satisfying time in furtherance of my ongoing Opusmodus education ;-) Thanks again Julio for the inspiration, and Janusz for ALREADY including/implementing so many useful tools related to these subjects :)

Thank you very much for taking the time to share ;-) Please feel free to continue to do so as I am most interested in this subject of Timepoint/Rhythm, especially as you apply your research to Opusmodus coding applications/implementations :)

Fantastic,very insightful....thanks for sharing! Visual patterns as compositional approach are one of my interests, as is the idea of organizing rhythm into 'scales' ;-) Please inform if an English translation of main dissertation becomes available (though the excellent illustrations and footnotes in English in current version provide plenty of food for thought as it is, especially as many of your references are on already on my bookshelf ;-))

Eno/Byrne-esque 'Beat-Betas' as audition tape (i.e. 60 second continuous excerpts). Opusmodus generated MIDI...Mixed as "prototypes" in Logic 9.1.8,'auditioned' in iTunes 'live' to "Audio Hijack Pro".

;;; SET Variables (setf pitch-1 '(c2 cs2 d2 ds2 e2 f2 fs2 g2 gs2 a2 as2 b2 c3 cs3 d3 ds3 e3 f3 fs3 g3 gs3 a3 as3 b3)) (setf pitch-2 '(c2 cs2 d2 ds2 e2 f2 fs2 g2 gs2 a2 as2 b2 c3 cs3 d3 ds3 e3 f3 fs3 g3 gs3 a3 as3 b3 c4)) (setf reverse-p (nreverse pitch-2)) (setf rotation-p-1 (gen-rotate :left pitch-1 :type :seq)) (setf rotation-p-2 (gen-rotate :right reverse-p :type :seq)) (setf rotation-p-3 (gen-rotate :right pitch-1 :type :seq)) (setf rotation-p-4 (gen-rotate :left reverse-p :type :seq)) (setf rotation-combo-A (gen-repeat 17 (append rotation-p-1 rotation-p-3))) (setf rotation-combo-B (gen-repeat 16 (append rotation-p-2 rotation-p-4))) (setf bin-map-1 (binary-map (gen-binary-euclidean 1 8 5 7) 's)) (setf bin-map-2 (binary-map (gen-binary-euclidean 1 8 5 8) 's)) ;;----------------- (setf drum-rotation-1 (make-omn :pitch rotation-combo-A :length (span rotation-combo-A bin-map-1) :velocity '(ff mp = = = = = =))) (setf drum-rotation-2 (make-omn :pitch rotation-combo-B :length (span rotation-combo-B bin-map-2) :velocity '(ff mp = = = = = =))) ;;; SET Voices (setf Voice1 drum-rotation-1) (setf Voice2 drum-rotation-2) ;;;-------------------------- (def-score Euclidean-Rotations ( :key-signature 'chromatic :time-signature '(4 4) :composer "Loopy C" :copyright "Copyleft © 2017 Chris R Gibson" :tempo 106 :flexible-clef t :ignore-velocity t ) (inst1 :omn Voice1 :port 0 :channel 1 :sound 'Logic :program '1 :volume 90) (inst2 :omn Voice2 :port 0 :channel 2 :sound 'Logic :program '1 :volume 90) ) Really, REALLY basic code...but indulges my interests in shifting rhythm patterns. Pitch-lists are designed for the triggering of Spectrasonics 'Stylus RMX', the mixes then taking three stereo pairs and applying separate fx processing for final bounce in Logic 9.1.8. As I said, pure indulgence of a personal compulsion...shared here simply as example of the variety of Opusmodus application as applied to beat creation. ...

Audition format (excerpts) of various personal application studies for Opusmodus. .. .

Wow, thank you...that means a lot coming from you :) Even at my extremely novice level with Opusmodus, the possibilities of what I can accomplish towards my own goals (experimental electronics) are seemingly endless :) The combination of the online documentation and the continuing insights/inspiration derived from this forum and it's generous and talented contributors....is making this first leg of my learning Opusmodus an extremely exciting and rewarding period of education...and as I am able generate and collect these audio materials into a personal library, no doubt Opusmodus will allow me to develop unique approaches to electronic musiking which is my primary driving force ;-)

Not much, but happy to share. Somedays, I just set up a live audio host and some interesting instruments and samples, and then 'browse' the Opusmodus documentation. In these sessions, I am combining a playful way to add to my knowledge while generating audio materials via audition and MIDI Export for my library to be used as later combinatory/compound materials. As the title suggests, these are just live experimentations with 'vector-to-length', along with variations on a theme to the value of 'vector-smooth' (from min to max value over session period). ;; (setf vector (gen-white-noise 10000)) (setf v2l-1 (vector-to-length '1/128 -3 13 vector)) (setf v2l-s-1 (vector-to-length '1/128 -3 13 (vector-smooth 0.1 vector))) (setf chromatic-12 '(c2 cs2 d2 ds2 e2 f2 fs2 g2 gs2 a2 as2 b2)) (setf chromatic-16 '(c2 cs2 d2 ds2 e2 f2 fs2 g2 gs2 a2 as2 b2 c3 cs3 d3 ds3)) ;;----------------------------- (setf voice-1 (make-omn :length (length-weight v2l-s-1 :weight '(34 1)) :pitch (span v2l-s-1 chromatic-16) :velocity (messiaen-permutation '(ff f mf mp p)))) ;;----------------------------- ...and with pitch-figurate and additional permutation: (setf voice-1 (make-omn :length (length-weight v2l-s-1 :weight '(67 1)) :pitch (span v2l-s-1 (pitch-figurate 6 chromatic-12 :interval (messiaen-permutation '(1 -1 2 -2 3 -3 4 -4 5 -5)))) :velocity (messiaen-permutation (messiaen-permutation '(ff f mf mp p))))) The pitch list is for the sequential triggering 'sample slices' via New Sonic Arts 'Vice', each slice corresponding to a specific pitch (thus the pitch-figurate serves to add controllable variation of slice triggering). The exercise is focused on rhythm, but in the context of untraditional/non-percussion materials ;-) hth ...

Thank you for the info and replies ;-)

Janusz, where is this above function 'length-tempo-map'? It doesn't appear to be part of system and system/forum searches only come up with this one reference? Thanks in advance.

oneder, I wrote Peter Stone around that time, and he stated that he was very busy on a project(s) and would update at some time in future but DID take the time to assist me. He has been at this a long time (my original copy of SCOM I have been upgrading from was purchased for an Atari in the early 90's!), and he has always replied to my emails over that long period...but I imagine SCOM is not necessarily 'in demand' such to be a priority from a marketing standpoint i.e the website. If you need support, write him directly... he has always presented himself to me as a professional and a gentleman, and has maintained SCOM for decades now... just appears to have other areas of his life he is fully committed to right now ;-)

Thanks Janusz ;-)

Can someone clarify the procedure for loading a pre-compiled MIDI file into 'Live Coding Instrument'? Documentation states: "The live-coding function can start by loading a pre-compiled midi-file..." and from under "Arguments" states: "file-or-midi an integer (outer interval-size)"....but that's all there is to documentation for MIDI files??? There are no examples concerning this aspect I could locate. I am currently using the "(live-coding-midi (compile-score...)" with success, but would like the basic example/process/syntax for loading existing MIDI files? Thanks in advance.

Thank you for your reply Janusz ;-)

I am often finding my graphs too crowded (i.e long or dense segments) and so have to to manually 'stretch' them out in the 'Workspace' via the mousing of window size to available maximum...is there a way to reflect that in the PDF (in either method of saving) or re-format the 'save as PDF' for larger formats? I can't seem to either access or force larger 'paper size' or layout (landscape) options to increase overall size of plot? Also, perhaps in a future update/version...it would be nice to have separate/standalone window(s) for plots for 'two display' systems?? I have found the plotting so extremely useful for judging various systems that a full, separate display space just for multiple plots would be very useful and much appreciated here :) Thanks in advance

Oh no, I am very sad to learn this :( I had only recently written him to thank him and his coauthor for their wonderful book and website of resources (it was his book 'Parametric Composition' which introduced me to Opusmodus). Thank you Stephane for the requiem and notice of Nigel's passing.

I opted for a 'physical copy', so will have to wait until Dec. 21st...just in time for a Christmas gift to myself ;-)

Very, VERY cool ole, thank you!

One of my approaches to creating, for example, 'percussive textures'...is to combine different/simultaneous bpms. One way...rendering separate audio files at bpm's say at 53 bpm, 59 bpm, 61 bpm, 67 bpm, 71 bpm...then mixing those individual audio stems together. Or another approach, with a sequencer environment like 'Numerology Pro'...creating individual 'sequencer stacks', each having their own separate sequencer clock set to different bpm, to create realtime MIDI/audio version of example above (or other prime number combinations like 'Prime Pillars' and prime spirals). Note, this is different from basic polyrhythms, which are still within the fractional metrics of regular divisive system (probably Elliot Carter had some method/terms closer to what I described above?) Given my current relative inexperience in the Opumodus language...could the more experienced among you perhaps suggest any approach/techniques to consider in order to generate the same final result of having different bpms for different individual voices playing SIMULTANEOUSLY in final output? Thanks in advance