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zlemflolia

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Everything posted by zlemflolia

  1. Another cool idea Sean said that they made their system so playing music is almost like playing a game, like playing GTA and fucking around with the controls and seeing what you can make the game do and glitch it out Well take this generative sequencing engine further and add a visual control aspect too. Have the central generative sequencer display its upcoming sequencing decision paths to the user visually on the screen, and they can just move a dot around in realtime towards the upcoming areas they want the music to focus on. Not like "choose this one instead of that one" but more fine grained, they could mix in between incoming decision streams and kind of get a mix of both upcoming generative sequencing changes, or stay right in the middle of an upcoming tube and make it 100% that stream. Each patch could have its own color and parameters such as LFOs could look like wobbly lines coming towards you, like guitar hero lmfao but a more complex stream of data coming at you, with all relevant signals grouped into the same sort of tube moving forward. The user could define certain visual events that occur during certain combinations of sequencing events happening to make the visual interface more robust and context aware of the specific track you're generating. Okay this ideas pretty dumb but whatever lol I'm just trying to think of the best ways to offload sequencing and generation to the computer and creating high levels of abstraction for the user to interact with to generate the music on a high level, both rhythmically and melodically, and then with regards to envelopes too for metaparameter modification and modulation, with hands alone where they can focus on high level musical elements not little things like ADSR parameters
  2. Nothing as robust as what I described earlier, but I've made some generative + live user input stuff in Max/MSP. I will make that other thing once I get off my ass and it will be the ultimate Max/MSP generative framework. I've made some stuff thrown together not following the formal framework earlier, and this method of tying otherwise unrelated parameters together seems to get interesting results so far, requiring little to no user input. This track here was made by switching between about 6 button objects live as I pleased (and choosing a couple notes on keyboard during the main repeated sequence). It's boring but kind of cool
  3. Yes, Frito-Lay®, Fritos®, Lays®, even Tostitos®. Anything under the PepsiCo® name.
  4. In the above design each sound generator is isolated which would result in more boringness. So it needs to add more iddim by allowing parameters to be shared between them globally and arbitrarily. This will let you be more creative and stuff. But keep in mind most of that should be done internally and the parameter sharing should be isolated and encapsulated to within some maximum number of parameters, maybe 3 to match the X, Y, and Z metaparameter scheme so it's symmetrical and more recursive and stuff. Adding a little parameter distribution module there.
  5. The Markov chain based generative sequencer above can be modified to just be a generic sequencer including many different types of sub-sequencers. As long as they follow a similar generic interface as the signal control modules mentioned above they should be easy to swap in and out. They should follow the format of "output sequence = sequencer(time, input sequence)" and this allows simple step sequencers to be controlled using the same interface as other sequencers like Markov chain ones or even cellular automata based sequencers, a more expansive list being below. Allow higher ranking sequencers to be masters of slave sequencers (all those a lower rank than it), with override in action upon toggling setting a control signal, each communicating with each other. This can allow a buildup of complexity depending upon how this sequencer is being controlled by the generative sequencer, but with simpler defaults at the bottom (once again note these sequencers apply to both rhythmic and melodic sequencing): Step sequencers mapping time to events Markov chain sequencers Cellular automata sequencers TODO: moar sequencers
  6. In sequencing also make sure that there isn't too much overlap in module's ownership of the sound spectrum, for pre-emptive mastering purposes. Make sure that you don't let the Markov chains get too wild. Keep the vocabulary of input previous sequences relatively small to keep a flavor throughout sections of the track. Note that sequencers in the way I use the term means both rhythmic and melodic sequencing, as well as metaparameter envelope shaping (with a bit of occasional raw parameter overrides by the live artist which are fed back into the sequencers. Keep a nice symmetry in the metaparameters of ambience and percussive rhythm. Background ambience has a large psycho-acoustic effect despite less often being consciously recognized by the listener.
  7. Needless to say most of this will be best implemented as C externals. Max must have a decent API for input and output from externals, it has to that's kind of the whole point of them. Presumably externals can work at the raw buffer level so this can also allow sequencing at the signal level, allowing more abstract sequence generating a signal processing than would be allowed easily with only the functionality allowed by Max/MSP objects. Then again either Sean or Rob said in the WATMM AMA that "zl" was their current favorite operation which does list processing, tbh I could see Max/MSP doing scheduling well with list processing, with all the functionality probably being really similar to Lisp-based list processing. Allow the system to have all parameters and inputs overridable by live input from drum pad or synth MIDI events or whatever, and have this input data be fed back into the generative sequencer's data in realtime to allow the sequence to be sculpted over time, then the creator can also easily sculpt in real time, the X, Y, and Z metaparameters as well with only 3 knobs or sliders, or even a 2d touch screen grid for X and Y, and a slider or knob for Z. This at its core is simple though so simple modulations to the generation of the track aren't enough, even with metaparameters. The sequencing modules themselves have to modify their own behavior as well independant of the changes related to the metaparameters, based on its past observations of sequence transitions. This can itself modulate what the metaparameters of a module do, allowing a much higher level of abstraction as well as an OOP style encapsulation of functionality. The cool thing about this method is that you should be able to mix and match modules anywhere you want, swapping them out in the generative sequencer in realtime even. Since their input and output inlet interfaces are identical this necessarily should be possible, but the results may not be pleasing. But that might be a good thing
  8. Trigger bangs increasing in frequency, in phase with a rising sawtooth envelope in range [0, 1) applied to pitch and inverse low cutoff Sharp falling cutoff on squelchiness of bass in sync with logarithmically increasing pitch on low bass drum Background shimmery ambiance generated by using the wet signal of a global revert as a grain cloud for a stereo widened grain cloud, with inverse exponential dry signal mixin upon rising complexity of rhythm scheduling Each sequence segment can be seen as fixed length sequence of events (envelopes). Apply subtle transitions to each envelope over time. Lock the envelope transitions of some segments into phase with each other. Create a generic Markov chain enumerator FSM with dynamically changing state based on user input. FSM transitions are mapping to next event (or event sequence) based on input domain of past N events for some N, with higher N indicating higher adherence to syntactic structure of input sequencing, lower N indicating more sporadicness. Create entire system's audio and sequencing modules to have a generic "X" metaparameter inlet. which modulates whatever type of patch it is to be more intense or less intense in the parameters on single parameters. These modules includes rhythmic and melodic sequence generators, waveform generators, and signal functions (arbitrary functions mapping from one input signal to another). All of these modules are not only modulated via X but via manual override parameters as well. Potential also include generic X, Y, and Z metaparameter inlets to allow more fine tuned control by the generative sequencer. Create a 2D grid which you can drag a dot over. Assign each area of grid a "color" with each color representing a range or set of numerical limits of global constants for the generative sequencer to use as inputs to its metaparameter inlets. Note, these modules can be connected in very complex ways through manual parameter override inlets (whose behavior can also be controlled via metaparameters modulated by generative sequencing engine Now a track consists of a line drawn through this 2D grid at a constant speed. Simply pause movement in the same location for a while to keep the track being generated in the same way, or spam it around for a little bit drawing scribbles for a quick insane moment. It won't sound insane though because NO randomness will be used. This is very important. Note that less is more, and level 1 intensity moments should be rare. Tracks should primarily be in the [0, 0.3) range of intensity, with higher values during sharp attacks and low values during on some elements, and other orientations on others. They should peak up into [0.3, 0.5) during more intense subsequence transition events, and only ever into [0.5, 1.0) during intense, entire track transition or peak events. Little upward dips when preparing for this track-changing event can rise midway through this interval to around 0.75. Generally a track should look like how a skip list would look when allocated randomly over a decent amount of time. When generating live music have an event and signal logging file (this will end up being large if done in a decent resolution - who cares hard drives are cheap). Make a simple tool to edit these files to fix any weird live anomalies which don't work well musically when making studio tracks, maybe Max/MSP paused for a moment when it shouldn't have, this shit can happen. Also make a visualizer that will tell you all metaparameters on patches to help catch the exact initial conditions that lead to an anomaly like this, if it's a really cool weird one you want to keep. -------------- Those are as far as my current thoughts have gotten. The only exceptions for randomness are in sound generator modules for noise impulses, and in subtle (note: subtle is important here) LFO signal modulators.
  9. The buzzfeed interview vid was kind of retarded, I didn't find any moment of it even remotely entertaining or funny
  10. LOL I know what you mean. "I'm not being productive if I'm just reading some stupid book or watching TV, I have to expand my music collection while simultaneously posting in 3 threads at once and refreshing 5 others that I'm only lurking on"
  11. It's like a bad dream and there are so many moments you can mention which people don't bother to mention Like when Nick was walking up the floor bent backwards and falling awkwardly as if his limbs didn't work, then getting up again with a weird look on his face. Maybe I don't watch enough TV, movies, or videos, but I swear I've had bad dreams where that happened to me before and I've never seen this illustrated anywhere. It's a really specific feeling of bumbling awkwardness and disappointment in yourself, and they captured it well.
  12. Like the bit of the guys who can't take rejection well and turn into misogynist crybabies? Yeah that :)
  13. That was SO good. It captures something I can't explain.
  14. Anyone else hyped for the next episode Hyped as fuck, hypesterCentral
  15. It is just a little bit too produced instead of more thrown together, which is preferable
  16. I disagree, their humor is very witty and them breaking character is when they are at their best
  17. Oh my God This episode is amazing. Oh my God lmfao. Rivals Utopia except they're clearly serious but pretending not to be I didn't like that cut to the "adult swim executive directors" like it was some little blooper reel halfway through the movie. Gay. So surprised they were allowed to air this though
  18. MDE fucking killing it tonight OMFG SUCH A GOOD EPISODE
  19. zlemflolia

    elseq 1-5

    Did he simply realize this is the entirety of our existence? Absurd waiting for the obelisk at the end of time that we all know exists but which we never thought would come this soon?
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