Instead, it uses a massively parallel bank of physically-modeled resonators, one per horizontal row of pixels to make the sound. This, or a graphic specially made in a drawing program is then converted into sound with sine-wave, or other waveform, oscillators, one per horizontal row of pixels, summed to make the final sound. In some of these programs, a sound is analysed with a Fast Fourier Transform (FFT) to produce a sonogram of the sound. And other graphic programs, such as Coagula, Meta-Synth, AudioPaint and Photosounder, among others, have all used a similar method to produce sound controlled by graphics. Of these, the one that survived was Murzhin’s ANS synth, which is today available as the Virtual ANS softsynth for just about all platforms. Back in the 1950s, Percy Grainger in Australia and New York, Daphne Oram in the UK, and Evgeny Murzhin in Russia, had all devised means of using graphics to control oscillators. It uses a new take on an old technique – using graphics to control sound. 1 add on) is a new product from 2CAudio, the maker of such superb reverb plugins as Aether, Breeze, and B2. Kaleidoscope ( ) (Windows 7 and 8 and Mac OSX.7 and higher 64 bit and 32 bit $249.95, $324.95 with the Galbanum Architecture Waveforms Vol. Very powerful, and flexible, it uses a new paradigm – physically modeled resonators controlled by graphics to produce and modify sound. 2015 Kaleidoscope is a new approach to the use of graphics to control sound. The name comes from the idea of crop circles being a tourist draw, perhaps left by interstellar visitors, and idea of a maze/labyrinth being the holding cell for the minotaur.By Warren Burt, Mar. The static also has phaser, flanger, and chorus on it, to further reinforced the circularness of the piece. I added some static in the background, with certain frequencies cut out to let the melody through. I was pleased to see that (accidentally) the distance between melody and harmony steadily increased over the 12 melodic segments, which further reinforced the clock-face/circle metaphor. This led to coming up with a system/process of determining starting intervals, in which I mapped on a clock face the starting intervals of the first three melodic segments, then used to that to invent a system to determine the other starting pitches. I went with a more conceptual approach to circles and decided this would be a great chance to use “mirror harmony” (or “negative harmony”).Įach melody segment in the right-hand ends on the same note it began on (to follow the rise and fall of a circle), and the left hand mirrors the right hand with the same intervals but in the opposite direction (making the bottom half of the circle).Īfter a while I realized having them begin and end on the same note got a bit stale, so I decided to explore having them start a half-step apart or a whole-step. Sorry for the waffle, don’t know if clear as been tiring day - but really a pleasure to take part in this - will return to listen to more of you alls experi mental materials toot sweet, after sleep… So those 3 elements all go thru a fibonacci based reverb i made in pure data, which has a kind of tape effect when changing speeds… and i recorded 13 takes, and ended up using mostly 2, with the start from 10 and end of 13.Įt voila. Took 3 mins of a field recording of wind blowing in reeds to add some atmosphere, a bird sings at the end so took that as my prompt to stop fiddling and… waddjamacallit - when the ship goes zipping back off to alpha centuri? Then I plugged in volca keys and did euclidean arpreggio based on 8/5 - had derived fundamental frequency of pretty much D3 by dividing first 6 fibo-ns by 7th - so used that plus aforementioned ratios/intervals to feed the keys. So i just went fractal fibonacci nuts everywhere else - built a drone from sine waves (circles!) mix of fm & additive, and used the ratios 2/1 3/2 5/3 8/5 - 5/3 & 8/5 are basically major & minor sixth apparently - and sounded lovely to me… so the drone is assigned to a midi knob which can play around the scale, plus distortion/volume etc. Initially I wanted to use the 2/3/5/8 as melodic and try to use the outer ring of 13 for a rhythmic/temporal organisation (smaller bars leading to a big 21 beat one in middle) - but too much fiddle (for me at this stage) so had to jack that idea in… So I noticed the crop circles encode the fibonacci sequence - trying to count the centre ones I was like, 2/3/5? 8? then when I saw 13 around the outside it clicked Greetings! First time here, and contributing to the junto - been messing around with pure data passed few winters and kind of got lost in fiddles - so when I came across the junto thought it would be good to give me some structure and force me into trying to finish/share the odd thing… anyways I look forward to being a part of it when I find the time, 'tis a lovely idea, and in general makes me happy to find creative things like this going on.
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