MM - Non symmetric live coding example.

MM – Non symmetric live coding example.

A small example of non symmetrical patterns and how to lay down multi-pattern compositions for live use. (my style)

It covers Pbinds and also Pdefn so you can variate patterns on the fly without having to restart the Pbinds.

—
In the context of a live concert, with different and better SynthDefs (samples maybe?):

Imagine someone playing e-violin with delay and you’ll have something Jean-Luc Ponty style.

Add a small choir making repeated notes forming a chord and it will sound like something from Steve Reich’s “Desert Music”.

You get the idea.

//MM Non symmetric live coding example. 2020 Matias Monteagudo.

//My interface options. Change at will.

(
Server.local.options.device = "ASIO : ASIO PreSonus FireStudio";
Server.local.options.sampleRate=48000;
Server.local.options.hardwareBufferSize=128;
)

//Add reverb first.

(
~rev.free;
(
SynthDef(\FreeVerb2x2, { |out, mix = 0.22, room = 0.15, damp = 0.5, amp = 1.0|
    var signal;
    signal = In.ar(out, 2);
    ReplaceOut.ar(out,
        FreeVerb2.ar( // FreeVerb2 - true stereo UGen
            signal[0], // Left channel
            signal[1], // Right Channel
            mix, room, damp, amp
        )
    ); // same params as FreeVerb 1 chn version
}).add;
);
~rev = Synth(\FreeVerb2x2, [\outbus, 0,\room,1], addAction:\addToTail);
)

~rev.free;//Stop reverb if you want.

//The Synth. Simple "bell" style sound.
(
SynthDef(\tri, {
	|gate=1, amp=1, freq=200, panpos=0, envdur=4|
	var sig1,sig2,pan;
	sig1=LFTri.ar(freq-2.5,0,EnvGen.ar(Env.perc(0.001,envdur,amp,-15),gate,doneAction:2));
	sig2=LFTri.ar(freq+2.5,0,EnvGen.ar(Env.perc(0.001,envdur,amp,-15),gate,doneAction:2));
	pan=Balance2.ar(sig1,sig2,panpos,1);
	Out.ar(0,pan)
}).add
)

Synth(\tri, [\panpos, 0])

//Set tempo.
TempoClock.tempo=80/60;

//Phrases.
//Note that uneven phrases yields overlapping at different positions. (Steve Reich's "out of phase" style music)

//Let's start by defining things first. (all play/stop buttons are at the bottom)

//Phrase 1
(
Pdefn(\p1degree, Pseq([5,3,-1,-4,8,3,1,6,3,10,3],inf));//By defining what an argument is, such as "what is \p1degree" in this line you can vary them later on the fly without restarting the Pbind.
Pdefn(\p1dur, 0.25);//Same here.
(
~p1=Pbindef(\a, \instrument, \tri, \gate,1, \envdur,1.8, \amp,0.2, \panpos, 0.7, \scale, Scale.chromatic, \octave,6, \ctranspose, 2,
	\degree, Pdefn(\p1degree), //Here you put your definition proxy. Here you say "\degree is equal to what I stated above"
	\dur, Pdefn(\p1dur) //Same here.
));
)

// Original phrases. I like to put original phrases here (the exact ones defined at the begining) so I can go back to them without having to restart the Pbind.
Pdefn(\p1degree, Pseq([5,3,-1,-4,8,3,1,6,3,10,3],inf));
Pdefn(\p1dur, 0.25);
//Variations
Pdefn(\p1degree, Prand([5,3,-1,-4,8,3,1,6,3,10,3],inf)); //Here you say, "In the above Pbind, now \degree is this"
Pdefn(\p1dur, 0.125); //Same here.

//Phrase 2
(
Pdefn(\p2degree, Pseq(#[5,8,15,20,22,23,20,22,25],inf));
(	
~p2=Pbindef(\b, \instrument, \tri, \gate,1, \envdur,2, \amp,0.3, \panpos, -0.7, \dur,0.25, \scale, Scale.chromatic, \octave,4, \ctranspose, 2,
			\degree, Pdefn(\p2degree)
));
)
//Original phrase.
Pdefn(\p2degree, Pseq(#[5,8,15,20,22,23,20,22,25],inf));
// Variation
Pdefn(\p2degree, Prand(#[5,8,15,20,22,23,20,22,25],inf));

//Phrase 3
//Note the different duration on the first two notes.
(
Pdefn(\p3degree, Pseq(#[18,20,8,11,13,15,17,11,10],inf));
Pdefn(\p3dur, Pseq([0.25,0.25,0.5,0.5,0.5,0.5,0.5,0.5,0.5],inf));
(
~p3=Pbindef(\c, \instrument, \tri, \gate,1, \envdur,2, \amp,0.3, \panpos, 0, \scale, Scale.chromatic, \octave,3, \ctranspose, 2,
			\degree, Pdefn(\p3degree),
			\dur, Pdefn(\p3dur),
));
)
//Original phrase. //Note you can evaluate many at once. (by using brackets or selecting the lines manually)
(
Pdefn(\p3degree, Pseq(#[18,20,8,11,13,15,17,11,10],inf));
Pdefn(\p3dur, Pseq([0.25,0.25,0.5,0.5,0.5,0.5,0.5,0.5,0.5],inf));
)
//Variation
(
Pdefn(\p3degree, Prand(#[18,20,8,11,13,15,17,11,10]+12,inf));
Pdefn(\p3dur, Prand([0.25,0.25,0.5,0.5,0.5,0.5,0.5,0.5,0.5],inf));
)

//Phrase 4
//Note notes and durations don't need to be equal.
(
Pdefn(\p4degree, Pseq(#[18,20,8,11,13,15,17,11,10],inf));
Pdefn(\p4dur, Pseq([1,1,1,0.5,0.25,0.125,0.125,0.25,0.25],inf));

(
~p4=Pbindef(\d, \instrument, \tri, \gate,1, \envdur,0.4, \amp,1.3, \panpos, 0, \scale, Scale.chromatic, \octave,2, \ctranspose, 2,
			\degree, Pdefn(\p4degree),
			\dur, Pdefn(\p4dur),
));
)
// Original phrase
(
Pdefn(\p4degree, Pseq(#[18,20,8,11,13,15,17,11,10],inf));
Pdefn(\p4dur, Pseq([1,1,1,0.5,0.25,0.125,0.125,0.25,0.25],inf));
)
//Variation
(
Pdefn(\p4degree, Pseq(#[18,20,8,11,13,15,17,11,10].mirror,inf));
Pdefn(\p4dur, Prand([1,1,1,0.5,0.25,0.125,0.125,0.25,0.25],inf));
)

//Phrase 5
(
Pdefn(\p5degree, Pseq(#[20,17,13,18,15,11,17,13,10,15,11,8,6],inf));
Pdefn(\p5dur, 0.75);
(	
	~p5=Pbindef(\e, \instrument, \tri, \gate,1, \envdur,8, \amp,0.07, \scale, Scale.chromatic, \octave,7, \ctranspose, 2,
		\degree, Pdefn(\p5degree),
		\panpos, Pwhite(-1,1),
		\dur, Pdefn(\p5dur),
));
)
(
//Original phrase.
Pdefn(\p5degree, Pseq(#[20,17,13,18,15,11,17,13,10,15,11,8,6],inf));
Pdefn(\p5dur, 0.75);
)
//Variation.
(
Pdefn(\p5degree, Prand(#[20,17,13,18,15,11,17,13,10,15,11,8,6],inf));
Pdefn(\p5dur, 0.25);
)

//Phrase 6
(
Pdefn(\p6degree,  Pseq(#[20,17,13,18,15,11,17,13,10,15,11,8,6],inf));
Pdefn(\p6dur, 1.25);
(
~p6=Pbindef(\f, \instrument, \tri, \gate,1, \envdur,8, \amp,0.07, \scale, Scale.chromatic, \octave,6, \ctranspose, 2,
	\degree, Pdefn(\p6degree),
	\panpos, Pwhite(-1,1),
	\dur, Pdefn(\p6dur)
));
)
//Original phrase.
(
Pdefn(\p6degree,  Pseq(#[20,17,13,18,15,11,17,13,10,15,11,8,6],inf));
Pdefn(\p6dur, 1.25);
)
// Variation.
(
Pdefn(\p6degree,  Prand(#[20,17,13,18,15,11,17,13,10,15,11,8,6],inf));
Pdefn(\p6dur, Prand([1.75, 1.25, 0.25, 0.5],inf));
)

//Start patterns one by one. You don't need to start them in order.

~p1.play;
~p2.play;
~p3.play;
~p4.play;
~p5.play;
~p6.play;

//Stop patterns. Same thing.

~p1.stop;
~p2.stop;
~p3.stop;
~p4.stop;
~p5.stop;
~p6.stop;

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sacco_belmonte

591 PM

Platform: SuperCollider
Category: Composition Sequencer
Revision: 1.0
License: GNU General Public License family
Modified: 6 years ago
Views: 913

Likes: 1

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MM – Non symmetric live coding example.

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