Examples of a few custom wavetables. They are created algorithmically within Csound. The first section features harmonic & inharmonic partial wavetables, the second uses a single wavetable derived from noise (random numbers). With both sections there are no filters used or any modifications except some reverb - it's straight wavetable playback. There is slow random modulation of the fundamental pitch on some of the noise table notes, via the instr, but all other amp/freq mod that can be heard are inherently generated by the tables.

Custom wavetables example (see description)

All the sounds are related to the famous sequence of Fibonacci and related sequences. The F 698 Hz represents the zero of all sequences. Also the synthetic spectra are deduced from this sequence. Temperaments varies from 12ET (always in the acustic piano) to 19Et, 31ET, 50, 7 (it's an other recursive sequence!)
more here: https://giovannidamiani.altervista.org/giovdamiani/qui_Fibonacci_ovunque4.pdf

Qui Fibonacci, ovunque

My interest in permutations led me to the practice of method ringing, a rich old tradition in which church bells are rung in long and complex patterns generated from simple rules. I use the foundational pattern called Plain Hunt on 6, or Plain Hunt Minor. Instead of church bells, I play samples of a gamelan gender in pelog, arranged as two overlapping six-note scales. The bell samples are routed through a system of asynchronous loops of different lengths, creating constantly changing layers that blur the underlying rhythm and structure of the bell pattern. Sequential events become a probabilistic texture.

This is a performance piece, so each rendition will be different. In fact, this is a short version made for festival submissions. There will also longer versions for other contexts using different bell patterns and looper configurations.

This is a followup to https://soundcloud.com/mysterybear/bell-study-2017-04-17.

Remixlive app on Samsung tablet, Strymon El Capistan, Boomerang III, Pigtronix Infinity Looper, Red Panda Context. Loopers in series.

Hidden Methods

Para órgano controlado por midi y ejecutante de registros y flujo de aire
For midi-controlled pipe organ and stops and air flow player

(2018)

Registros y control del flujo del aire por Santiago Bogacz
Stops and airflow control by Santiago Bogacz

Grabado el 20 de enero del 2018 en Sankt Peter, Köln, Alemania
Recorded on January 20th 2018 in Sankt Peter, Köln, Germany

BRUOEI...bruoei, para órgano (2018)

In this music there are only synthetic sounds, produced at sample level through the division algorithm, non restricted to base 10. The choice of base (from 2 and 72) is indeed  one of parameters of variation. Most of combinations of numerator and denominator produce periodic waveform, of various shape, and period lenght equal or submultiple of the Euler totient function, that here is a type of varying ‘fundamental ground’, as the sample rate is the common high pedal. I mean the variables X/Y base Z the 3 different parameters of a cubic matrix, and generate varying sequences with many harmonic and polyphonic features. These parameters are use not only at sample level, but according a fractal method, for pitch modulation and for quadraphonic panning (I use the reminders). The quadraphonic movements of each sequence is then projected on one of 6 sides of a cube, slowly moving to a different (or not) side, and then diffused on an octophonic installation.

All processes are written in Csound, and they run also in real time with a single file I can attach. They can also be converted in less or more channels. http://digilander.libero.it/giovdamiani/invisibili.htm#Csound_files_for_complete_generation:

invisibili- vivibili- rappresentazioni di rapporti

Flavio Virzi : guitar
  Live recording : Palermo 1-3-2012 Curva Minore contemporary sounds

Qui Fibonacci, ovunque

giovanni damiani