Triadic map and lines

posted by on 2013.02.19, under Processing
19:

The “triadic” discrete time dynamical system, i.e. the one obtained by iterating the function f(x)=3*x mod 1, is a very interesting one, showing a chaotic behaviour for given values of the starting point. I have used a bidimensional version of this in the following code, done with Processing: the starting point is given by (0.12,2.13), and at each iteration you have a line connecting the point at step n with the one at step n-1.
The number of points per frame is dictated by the x-position of the mouse, while the y-position controls the transparency of the lines. The x-position also controls their thickness.

float x;
float y;
float a=0.12;
float b=2.13;
float points=500;
float s;
boolean paused=true;

void setup(){
  size(400,400);
  background(255);
  }

void draw(){
if (!paused){
  points=map(mouseX,0,width,0,500);
  s=map(mouseY,0,height,0,100);
  background(255);
  translate(width/2,height/2);
  stroke(0,int(s));
  strokeWeight(int(points/100));
  for (int i=0;i<points;i++){
  x=(3*a) % 1;
  y=(3*b) % 1;
  line(map(a,0,1,-width/2,width/2),map(b,0,1,-height/2,height/2),map(x,0,1,-width/2,width/2),map(y,0,1,-height/2,height/2));
  a=x;
  b=y;
  };
};
};

void mousePressed() {
 // if paused == true make it false
 if(paused) {
  paused = false;  
 }
 // otherwise make it true
 else {
  paused = true;
 }
};

Click on the white square to start/stop the animation. 😉

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Voices

posted by on 2013.02.17, under Supercollider
17:

Here’s a little code inspired by a yoga session. During the meditation part, it is customary to sing some words which have the effect of a long note (a variation of the popular “oooom”, so to say): the different voices are not in phase, though, and at each iteration not all the partecipants sing. Neverthless, you have a nice harmonizing effect, sort of a long drone.
The code below explores this very simple idea: I have also added some very slight inharmonicity to the VarSaws. This makes for an almost unnoticeable beating effect, which I think suits well.
You may notice that I’m using Ndef and Tdef: I always like to use the JitLib extension when experimenting in Supercollider, since it makes the process much more flexible and fun.

s.boot;

SynthDef(\voice,{arg out=0,n=0,p=0,d=10,r=10;
var sig=Array.fill(3,{|i| VarSaw.ar(n.midicps*(i+1.0001),mul:0.05/(i+1))}).sum;
var sig2=Ringz.ar(WhiteNoise.ar(0.0003),TRand.ar(n.midicps,(n+1).midicps,Impulse.ar(10)));
var env=EnvGen.kr(Env.linen(d,1,r),gate:1,doneAction:2);
Out.ar(out,Pan2.ar((sig+sig2)*env*(0.8+SinOsc.kr(0.1,0,0.2)),p));
}).add;

Ndef(\rev,{
Out.ar(0,Limiter.ar(FreeVerb.ar(LPF.ar(In.ar([0,1]),10000),mix:0.33),0.7));
};
);

Tdef(\voices,{
inf.do{
10.do{
if ((0.8).coin,{
Synth(\voice,[\n:[24,28,29,48,36,40,41,52,53,60,64,65].choose,\p:{rrand(-0.5,0.5)},\d:{rrand(5,13)},\r:{rrand(8,14)}]);
});
rrand(0.1,1).wait;
};
18.wait;
};
});

Tdef(\voices).play;
Tdef(\voices).stop;

s.quit;

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Piano, patterns and gestures

posted by on 2013.02.12, under Supercollider
12:

I always loved piano as a kid, but for life circumstances I could never study it.  Ended studying guitar instead. Here’s a little code in Supercollider, exploring piano improvisation and “gestural” phrasing.

MIDIClient.init;

~mOut = MIDIOut.new(3);

//Set the scale to be Cmajor
~scale=[0,2,4,5,7,9,11];

//Define pattern proxies which will be modified by the task t below

a=PatternProxy(Pxrand([3,3,3,1,3,3],inf));
b=PatternProxy(Pseq([1/2],inf));
r=PatternProxy(Pseq([12],inf));
n=Prand([4,8,16],inf).asStream;

t=Task({
Pdef(\x,Pbind(\type,\midi,\chan,0,
          \midiout,~mOut,
          \scale,~scale,
          \root,-12,
          \degree,Pxrand([[0,3,5],[3,5,7],[4,6,8],[5,7,11]],inf),
          \legato,1,
          \amp,[{rrand(0.6,0.8)},{rrand(0.5,0.6)},{rrand(0.5,0.6)}]*0.7,    \dur,Prand([Pseq([1,1,1,1],1),Pseq([1,1,2],1),Pseq([1,2,1],1)],inf))).play(quant:1);

Pdef(\y,Pbind(\type,\midi,\chan,0,
          \midiout,~mOut,
          \scale,~scale,
          \root,r,
          \degree,a,
          \legato,1,
          \amp,{rrand(0.5,0.6)},
\dur,b)).play(quant:1);

10.wait;

t=Task({
    inf.do({
        if (0.7.coin,{ 
         c=[[3,0,7,1,9,11,0,4],[[3,7],0,7,Rest,9,[0,11],0,4]].choose.scramble;
             r.source=Pseq([[12,24].wchoose([0.7,0.3])],inf);
         d=n.next;
             a.source=Pseq([Pxrand(c,d),Pxrand([3,3,3,1,3,3],inf)]);
             b.source=Pseq([Pseq([1/8],d),Pseq([1/2],inf)]);
           });
       rrand(3,4).wait;})}).play(quant:1);
    };
).play(quant:1);

I’ve used a PatternProxy for the various notes degrees, velocity and duration, so to be able to modify it on the fly via the Task t, which controls the improvised part.

I came later to realize that it would be probably better to use Pfindur, instead that a Pseq to release the phrasing… I’ll try that soon. 😉

The MIDI has been routed to Ableton Live, and what you can hear in the following is its standard piano instrument.

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For something amazing about  coding, piano and improvisation check Andrew Sorensen work with Impromptu. Superb.

 

 

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Hello World!

posted by on 2013.02.11, under Processing, Supercollider
11:

Here’s some cheers from the main programming environments I like to experiment with, namely Supercollider and Processing

“Hello World! Let’s make some noise”.postln

and

println(“Hello Word! Coloring pixels, anyone?”)

 

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