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I finally got a chance to sit down and work on some music, and to try to finish a couple machine music ideas (i aint using the "g" word any more).
so here's a little file that shows a couple fragmented auto-music ideas i had, put into one patch, and then blasted through my synth YAY
link
what you're hearing is what im calling a "modular phrase sequencer". what it means is that a stream of notes is being sequenced by interval, grouped into phrases. the phrase is triggered by chance. there's a phrase that goes up by a couple "steps" four times in a row, another that does a turn, another that decreases in a scalar fashion. the sequencer "remembers" where the last phrase left off through the use of a sample and hold, and that's how the melody remains continuous.
that is being sent through the markov tonality sequencer, which is determining the key changes. you hear two lines in the example-the slow one is the raw markov tonality changes, and the top one is phrase sequencer threading over it.
all that gets sent out to my analog, which makes it sound nice.
obviously, it's not particularly useful musically yet, but i think these experiments are getting closer to something
edit: LOL actually listening to it, i realized i screwed something up. hold for blog
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07/27/07
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astroid
lol it's better than the harrassment i would have had to endure, anyway
07/27/07
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djugel
Like a Dragon Warrior dungeon.
You should really check out a MC-202. It think it would blow your mind. This stuff it cool but it's locked in one rhythm... So it's basically like a synth when it trigs itself (LFO - S/H). MC-202 makes it very easy break that,., just throw in some random lonely triplet here and there.. fugs it all up.,, but sounds steady.
07/27/07
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djugel
well then you have to deal with CV/GATE and all that nonsense.... I still wonder if the MC-500 works like a 202. Where it can end whenever it wants and loop.
07/27/07
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astroid
the 202 is on my list for sure.
yeah, i have other parts of patches that would do pretty essential things like
1. make the patterns not be 16th notes over 1/4 notes
2. make the bassline not just outline the chords
3. have bits of the pattern get "remembered"
but i have to chain them together. work in progress
07/27/07
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djugel
I wish you, me and my SH-7 could hang out. Does this kind of stuff in seconds..
07/27/07
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astroid
well, the reason i'm taking this path is because i've done the lfo-s&h thing kinda to death. it just doesn't produce good enough melodies for the kind of thing i want. sure, you can control an arpeggio and then quantize it or whatever, but that gets really constant, too. thinking about things in terms of intervals, i think, is gonna make it better.
it's hard to let people in on where i'm going with this stuff, when it's in such a rudimentary form. i can't resist putting little experiments up and talking about little successes. eventually, i want this stuff to sound like bach 2 part inventions. that's gonna be a ways off for sure. i'll work on it more today and see if i can't get it closer.
07/27/07
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Roshi
I've been wondering whether my initial resistance to generative music has to do with my reluctance to examine my own musical making processes in detail. As if enumerating even the merest basic part of my process would invalidate it.
But I'm slowly coming round to the generative camp.
07/27/07
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monkvolcano
sweet, will check this out in a bit.
07/27/07
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astroid
is that it, roshi?
it seems like people think that the stuff is for jerks who want to act smart for no good reason, or that people think that examining the meta-level of art reduces it in some way, takes away the human quality. i can understand the first bias because the ideas did come from academia, which can be hard to stomach (actually, i think that's bullshit-to a certain extent, all music making involves an automatic level where your hand is forced to certain decisions). the second bias, i have no idea where that comes from. in all of these things, you're not giving up control, you're actually gaining control by letting the computer make the decisions you would normally make, and then guiding those. that means you can make quicker and more complex and therefore meaningful decisions based on form, shape, texture, etc.
but i've always loved abstracting music. i don't have such a formed musical identity that i feel i need to protect it.
07/27/07
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Roshi
Yeah, I'm realizing that it's kind of silly and that it's not really the sum total of my musical experience, and as you say, letting the machines do some of the grunt work will let me work on the more complicated stuff.
I think that the fear is that sitting down and analyzing my music will show me to be a musical simpleton.
07/27/07
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djugel
I just don't find it academic... it can be ... but in the end it's just legos to me.. have fun .. and then try again.
07/27/07
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astroid
legos! exactly. i love legos
07/27/07
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astroid
omg sh7 hell yeah
07/27/07
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electrodan
I say build a LEGO modular, with little plastic patch cords and make it sound... until then take your "experiments" and your "markov" and go fuck yourself.
07/27/07
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tantan
OMG that mario mod HAHAHAHAHAHAHA ROFL
Oh yeah, and this is like, cool too, assy. Seriously. +1 mlbot's Dr. Stolet reference. BTW, mlbot, when you google "Jeffrey Stolet" guess what you get? A bunch of hits to us calling him a wild-haired nut! Rad. Anyway, I tried to find some mp3s cos I think you'd dig his work, but no luck. 
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