Playing two monomes live, one take (with three especially sucky parts deleted), using Montevideo[1]. 41 notes per octave.

[1] https://github.com/JeffreyBenjaminBrown/montevideo

Abject Microtonal Noodling (41 tones per octave)

41-edo Kite Chapman Stick loop jam + accidental long silence

Two instruments: a 41-edo Chapman Stick and a water carboy (specifically a botellon of Agua Crystal).
Minor scales, bendy.

The Kite tuning forces you, if you're playing the minor second (9:8) and a minor third (6:5) at the same time, to start the former out a little flat (10:9) and then bend up into the pitch you intended. This does a lot of that.

Butterfly on an Icicle (41 tones per octave)

An edited improvisation in 46-edo (edo = equal divisions of the octave),
using a Lumatone keyboard, the Pianoteq synth, and Reaper (the DAW).
Lumatone layout: 4\46 right, 11\46 downright (7\46 down).

46-edo feels much more forgiving than 41. You can switch between 9:8 and 10:9 per whatever feels most convenient. (The change is noticeable, but somehow doesn't sound like you changed your mind the way it does in 41.) There's usually more than one augmented chord that sounds good in a given context, whereas i 41-edo even the most agreeable-sounding augmented chord is often pretty confrontational. You'd think more notes would make things harder, but apparently not necessarily.

46 - Edo 001, 2023 01 16

2023 03 26

Lumatone (keyboard), Pianoteq (synth), Reaper (DAW). 

46-edo (equal divisions of the octave -- as opposed to the usual 12).

Ringy, Often Tonal

thank you go team

This was written and performed live in Tidal (http://tidal.lurk.org/). This is* its source code.

let p1 = ("x ~ x ~ ~"::Pattern String)
let pp = preplace (1,1)
let f pitches = up (preplace (1,1) ("1 1 ~ ~ ~" :: Pattern Double) $ cat $ map return pitches)
let dbl p = stack [p, rl (2/5) p]
cps $ 1 / 1.1
d1 $ (fast 5 $ sound "hc" |*| gain $. lin 0.3 0.6 <$> tri1) |*| (slow  3 $ gain sinewave)
d2 $ stack [sound $ pp p1 "hh cp cp", slow 3 $ sound "[bleep:4 bleep:5]/2"]
d3 $ every 3 dbl $ rl (2/5) $ f $. concatMap (\x->replicate 4 x) [3,8,3,8,14,10] |*| insBass |*| gain "1.2"
d4 $ f [2,3,8,10] |*| insPsr
d5 $ rl (1/5) $ f [10,14,15] |*| insPsr |*| gain "1.2"

* modulo some silence chosen live, and some randomness due to start time that would be hard to reproduce exactly

Voting

Some simple math to generate a wide variety of sounds.

The Tidal code:
d1 $ slow 2 $ sound "sy*12" |*| qf 200
  |*| (slow 2 $ qpa "0 [1 2] 0.5" |*| qpf "2 3 7")
  |*| (slow 3 $ qfa "1 7 0.1" |*| qff "0.01 0.1 1 10")
  |*| (slow 5 $ qaa "0 1" |*| qpf "0.02 0.2 2 20")

The SuperCollider code:
(SynthDef(\sy,	{ // by default, sine wav
	|out, pan, amp = 1, qf=440, begin = 0, end = 1,
	qfa = 0, qff = 1, qpa = 0, qpf = 1, qaa = 0, qaf = 1|
	var env, aMod, pMod, fMod, carrier;
	env = EnvGen.ar(Env.perc(begin,end), doneAction:2) * amp;
	fMod = LFSaw.ar(qf * qff, 0, qf*qfa); // freq mod, BIG num
	pMod = LFSaw.ar(qf * qpf, 0, qpa); // phase mod
	aMod = 1+(qaa*Pulse.ar(qf * qaf,0.5,2,-1)); // amp mod, bandlimited(not LF)
	  // if qaa = 0, this has no effect
	carrier = SinOsc.ar(qf+fMod,pMod); //wks: qf+fMod
	OffsetOut.ar(out,
		DirtPan.ar(1*carrier*aMod, // add carrier!
			~dirt.numChannels, pan, env));
}).add;);

More information:
https://github.com/JeffreyBenjaminBrown/play

AM, PM, FM synthesis demo

The code that generated this song is open source.
https://github.com/JeffreyBenjaminBrown/Tidal/blob/epic/music/reggaeton.hs

Mashing reggaeton buttons

The code that generated this music is open source:
https://github.com/JeffreyBenjaminBrown/Tidal/tree/a62b7c523ef8b4399020169410b61c754f18ed80/music/loping-triads

So is Sound.Tidal.Epic, the language it's written in:
https://github.com/JeffreyBenjaminBrown/Tidal/tree/a62b7c523ef8b4399020169410b61c754f18ed80

That's a fork of Sound.Tidal:
https://github.com/tidalcycles/Tidal

loping triads

Improvised guitar + vocals announcing what the guitar was about to do. Added another guitar track, and then a bass track, guided by those vocals. Made a few edits. Omitted the vocals when rendering.

Jeffrey Benjamin Brown

Popular tracks