#learningmodular

[rofilm1]

The last days before publishing a new book are always rather exciting for me. Have I thought of everything? have I really finished all tasks? etc.

The generative music modular bible. Enjoy your day! Rolf

[rofilmmediamodular]

Teaching Generative Music With Modular Synths – Part 19

Chapter 5.2:

Sonic Kinfolk

(Excerpt from my e-book about making generative music – volume 1)

But it is not always about a kind of “chief” or “master” modulator (which, by the way, itself can be a complex network). Similar but different questions concerning polyphonic patches read: Which voices shall have which sources (triggers, gates, LFOs, other modulators etc.) in common? Which of of them shall be common sources all the time, and which shall be switched to only sometimes?

And even in monophonic patches do these questions exist and have to be answered BEFORE taking to the cables. Here in monophonic patches they read: Which modulating or triggering CV from anywhere (where?) in the patch shall do their modulating or triggering work in which other parts of the patch? And again: Always? Or only switched on from time to time?

A composer will ask and find the answers (a long time) before he or she patches the first cable. Of course it is about structure again, but not about the “big throw”, the overall kind of structure of the example from the beginning of this chapter. No, here I am talking about how and how much the individual parts of the piece are interwoven, what sonic, what musical relationships I want to set up.

Time for examples, I think.

In the first example there are 2 voices of quite different sonic character: a sine wave that is sent through a wave folder, and a smooth voice from BASAL. The pitch development of both voices is random (NOISE+S&H). The sound of the folded sine wave is always dominant in this mix of two sounds. But I want the acoustical dominance to rotate between the two voices. But I don´t want to change or modulate the volume of any of the voices. My (musical) goal is: the higher the pitch of the smooth BASAL voice is, the less is the wave of voice 1 (INSTRUO) folded, and vice versa. This means with deeper and less “penetrative” timbres of the BASAL voice the INSTRUO voice becomes more folded and prominent - and vice versa. As a result I get the change in leadership between the voices that I want. Technically I take the output of the S&H module of voice 2 (BASAL), send it through an inverter and from there I modulate the MIX function of the wave folder. The higher the level of the CV output of the S&H module, the less folded the sine wave reaches the audio mixer.

The preset “chapter_5_preset_5” and the following video show this example (video and preset only in my book. Get it here: https://www.dev.rofilm-media.net/node/467)

Now I take this patch and develop it further. This time I want to set up an interrelation not between the two voices, but between two parts (parameters) of one and the same voice (voice 2, BASAL). I want higher pitches to develop faster, and lower pitches to hold the notes for a longer time. To achieve that I patch the output of the S&H module of voice 2 to the FM input of the LFO that triggers this S&H module. Additionally I don´t send the S&H module´s output directly to the quantizer, but use the upper part of the double attenuverter module to add an offset to the pitch CV from the S&H module, because I don´t want the newly created quite long low pitches to be too low. At the same time I limit the pitch range using the attenuator knob of the upper part of the double attenuverter module.

The preset “chapter_5_preset_6” and the following video (videos only in the e-book)show this extended patch (video and preset only in my book. Get it here: https://www.dev.rofilm-media.net/node/467)

You surely have got what I have done by now (in this patch): I have set up a group of three parameters, have given them a common musical meaning, and let them – despite all randomness – commonly walk their musical route (pitch of voice 2, “speed” of voice 2 and amount of wave folding in voice 1).

… to be continued

Stay creative and enjoy your day!

Rolf

or what about visiting our Facebook group: https://www.facebook.com/groups/rofilmmedia

[photoglitz]

#learning #learningtolove #learningtocookthai #learningplay #learningbased #learninghowtodraw #learningmodular #learningmoment #learningmodel #learningpython #learningmode #learningthealphabet #learningthroughplaying #learningtolearn #learningyourcraft #learningfocus #learningtoeat #learningmore #learningmaterials #learningtheproduct #learningwithphoonhuat #learningdaily #learningwithmusic #learningskills #learningonmamaslap #learninganimalsname #learningthestockmarket #learningtosurfisabigdealtome #learningfrommykid #learningspanish https://www.instagram.com/p/CAAo3AMgXRG/?igshid=1dinns2v4wute

[trovarsiofficial]

Thank you so much Mariannah, Frank, Alison, Emma and everyone at Currents 826 on Canyon Road in Santa Fe, for putting on such a lovely event! It was a pleasure to perform with Jim Coker of @five12inc , @alias_zone aka @learningmodular , @anthonyballo and @mandofink As we layered our music with the visual art displayed throughout the gallery. #currents826 #santafe #newmexico #visualart #soundartist #liveperformances #liveartist #composers #visual #ambient #soundscape #experimentalmusic #atmospheric #soundsculpture #trovarsiofficial (at Currents 826) https://www.instagram.com/p/CaxgFVevhNi/?utm_medium=tumblr

[zangiamit91]

#recordingstudio #music #copenhagen #artist #rnb #designers #vietnamese #artists #soundstudio #pop #danish #synth #superbooth #musicstore #muffwiggler #modular #eurorackmodular #djlife #musik #bookdesign #analogsynth #lucashoang #vinylstore #suzanneciani #newproducts #musicproduction #moog #learningmodular #eurorack #recording #producer @yamaha_proaudio_official @yamahans10 @nona_recording_studio @_homestudios_ @aalborg_kommune @platform_4 @aalborgproduktionsskole @umf.2019 #urbansoundcollective #maxmartin #universalaudioapollo #yamahans10 #yamahans10mm #aalborgmusikfestival #aalborgmusikhus #aalborgmusik #musician #guitarplayer #producerlife (at Aalborg, Denmark) https://www.instagram.com/p/B1BArERgySQ/?igshid=1lram57j7r5x5

[nanotopian]

Meanwhile... exploring modular synthesis & interface design 🎶🍄 @kim_bjorn @moogfest @learningmodular #synthesizelove #biosonification #nonhuman #collaboration (at Junction Triangle) https://www.instagram.com/p/Bw92lCfAhLo/?igshid=6mx9n36ksrb6

[detund]

DU™️ #DUINO #Repost @imagezod ・・・ Playing a melody (Inanna by @theteapartyband) with DU-INO's Prophet VS envelope generator controlling the filter. Support us on Kickstarter! http://logick.ca/kickstarter @detroitunderground @learningmodular @kickstarter #eurorack #modular #arduino #detund #detroitunderground https://www.instagram.com/p/Bn-vy62FqKx/?utm_source=ig_tumblr_share&igshid=uuky5w0psnj2

[rofilm1]

Part 3 of this trilogy about making generative music is divided into 2 main parts:

(very) “Advanced Patching Techniques” and “Projects”.

The first of the project patches contains 167 modules, is explained in-depth on 35 pages, and can be rebuild in hardware or in the freeware version of VCV Rack.

Each step of (not only) this project is saved as a preset and additionally documented in a video. Both, the presets as well as the videos, come together with the book and are part of the bundle – like with all of my e-books.

See https://dev.rofilm-media.net

Enjoy your day!

Rolf

[rofilm1]

The “Generative Music – Total” Bundle:

“A Systematic Introduction To Making Generative Music With Modular Synths”

Get yourself the whole trilogy for less than 2/3 of the normal price:

Volumes 1+2+3 for only 51,- $

(instead of 79.50 $ - please notice that Volume 3 is going to be available in Autumn 2023).

or

Volumes 1+2 at a by 20% reduced prise of only 41.60 $ (instead of 52,- $)

or

Volumes 2 + 3 at a by 28% reduced price of only 39.60 $

(instead of 55.- $ - please notice that Volume 3 is going to be available in Autumn 2023)

Go to https://dev.rofilm-media.net “Offer Of the Month” to grab one of these advantageous offers, or learn more about the books on https://www.dev.rofilm-media.net/bookshop-list

[rofilm1]

Thoughts on Generative Music – Part 5

I promised it in earlier parts. So here it is: a more detailed description of the generative software sequencer bordL in VCV Rack 2. This generative software piece of gear offers functions, which we find in hardware sequencers only at very high price ranges – and it offers it all for free – not to mention, that with “bridge” hardware modules like the ES-8 (Expert Sleepers) you can use bordL to sequence your hardware Eurorack modules too. https://youtu.be/L14Ckjp7GbU

"bordL" can be externally clocked or can run using its internal clock, which can be CV modulated. There is a reset button and a step dial, both can be addressed by external CV. Even if there are only 8 pitch dials we can built 16 step sequences (see later in this article).

The upper 2 rows of potentiometers set the pitch (big knobs) and the randomness (small knobs) of each step. The term randomness concerns only the adjusted pitch (whether the step will produce the chosen pitch or another one), not the probability of producing a signal at all (skip or not skip this step). The pitch CVs are quantised to the chosen scale and the chosen root note. The root note of the scale is called “Key” and can be adjusted with the knob on the right of the GUI. Next to the “Key” knob there is the “Scale” knob. Both parameters can be modulated by external CV. The third and the fourth row of potentiometers also set the pitch (big knobs) and the randomness (small knobs), but they are not quantised at all. The tiny knob to the right of the row of quantised pitch potentiometers sets the so called “pitch sensitivity” of these quantised (and only of these quantised) potentiometers. Pitch sensitivity is more or less a compaction or expansion of the chosen scale. (the video is available only in the book)

Each step can be played more than only once. The number of repetitions is set with the row of “Pulse” potentiometers and their randomness knobs. (the video is available ohnly in the book)

Below the “Pulse” rows there are the “Gate” switches. We can chose between 5 modes: with one LED lit only the first of the adjusted pulses of the step is played, during the rest of the pulses of this step there is silence. With all three LEDs lit all adjusted pulses of this step are played. And if an end-to-end bar is lit then only the first of the adjusted pulses is played, but it is played until the end of the last of the adjusted pulses of this step (no silence). Then there are the modes G1 and G2, which means, that this step depends on external gate signals fed in the jack called G1 and G2 in the left bottom corner of the GUI. (the video is available only in the book)

Then there are two rows of little buttons. The upper row attaches slide to the step. The length of the slide can be set by the “Slide” potentiometer in the left section of the GUI left to the “Gate” knob, which sets the length of the gate signals. Activating a button in the lower row makes the sequencer skip this step. Completely down at the bottom are the gate outputs of each individual step.

The “Play” button changes the direction the sequence is played back. The “count” button changes the internal count from “steps” to “pulses”. If this function is set to “pulses” I can increase the number of steps above 8 (“Steps” knob, see above). With the “Steps” knob set to 16 the sequence contains 16 of the adjusted pulses, no matter how many and which steps are included. Example: steps 1-4 are 1 pulse each, steps 5-7 are 2 pulses each, step 8 is 3 pulses. Together 13 pulses. The sequencer will play as follows: steps 1-8 (13 pulses), then steps 1-3 again. This way there are 16 pulses played. After playing steps 1, 2 and 3 this second time the sequence begins with step 1 again:

1-2-3-4-5-6-7-8-1-2-3 // 1-2-3-4-5-6-7-8-1-2-3 // ….. (the video is available only in the book)

What´s left to say? Well, I can store up to 16 patterns, I can copy and paste one pattern into another, I can transpose the sequence up and down halftone per halftone, or shift the steps of the sequence left and right. The transpose function can be modulated by external CV.

All in all we can say, that the implemented functions together with the patch points to feed in external CV make bordL a very handy instrument to deal with randomness in generative patches, which lets us get deep insight in how generative music works. It´s also a very capable tool to learn about the matter of making generative music and to make our first own steps into this fascinating territory. Let me mention my ebook “A Systematic Introduction to Making Generating Music With Modular Synths” again (https://www.dev.rofilm-media.net/node/331), and say “good bye, see you in the next part”...

… to be continued.

or if you want to visit our Facebook group: https://www.facebook.com/groups/rofilmmedia

[rofilm1]

Every real understanding begins with asking the right questions. Here are mine (concerning generative music,):

α

Generative Music transfers some of the responsibility for a musical composition to a “machine” (a system). How? How much? Which ones? Why?

β

What role does chance play in generative music, and are there different types of chance, and if so, how do I generate them with modular synthesizers?

γ

What are the ingredients for generative music, and how do the “kitchen tools” work, the tools I process these ingredients with?

δ

Why are modular synthesizer systems so useful for producing generative music, and how do I get the most out of them?

ε

Does generative music always have to be ambient music? Or slow music? Or comfortable? Or dulcet?

ζ

Do I really need special modules that are suitable for making generative music?

η

What is so special about Voltage Modular that it deserves a whole e-book trilogy only about making generative music with this modular system?

θ

Why is it that generative music helps us understanding Albert Einstein?

ι

How many modules do I need to make generative Music with modular synths?

κ

Does a generative patch always have to run unattendedly?

λ

Can generative music be more or less generative? Is there a kind of degree?

μ

Do “real world” goings on play a role in generative music? Which one?

ν

Is generative music the most or the least human form of music?

ξ

Isn´t every modular synthesizer system potentially or even mainly a machine for creating generative music?

ο

Is generative music a genre, a style, a marketing term or simply a method of producing music?

π

How to prevent John from falling asleep when he is listening to generative music?

ρ

What do I really need to know when I want to make generative music with modular synths?

ς

Why is Voltage Modular one of the best modular synth systems when it comes to making generative music?

σ

Is there such a thing like “pseudo generative music”, and what and how could it possibly be?

τ

Does the term “composing generative music” make any sense?

υ

What are the specific problems that I meet when producing generative patches?

φ

Is producing generative music an alternative to learning music theory?

χ

Is it possible to produce generative dance music (EDM)?

ψ

What are the advantages that Voltage Modular has over other modular synth systems, and are there also disadvantages (which ones)?

ω

Is there an especially close relationship between generative music and modular synths?

ϊ

Where is my own creativity (is there any at all?) when I “provoke” a modular synth to make generative music?

ϋ

Is generative music of any commercial use (or is the invention of the term “generative music” a merely commercial act itself)?

ό

Does it make any sense to perform generative music live (and how may that possibly be done in an interesting way)?

ύ

Is generative music nothing else than musical pseudo-dadaismus?

ώ

What do have generative music and minimal music in common (if there is anything common at all)?

Read the whole article on https://www.dev.rofilm-media.net/node/622

Cheers and peace!

Enjoy your day!

Rolf

[rofilm1]

ς

Why is Voltage Modular one of the best modular synth systems when it comes to making generative music?

[rofilm1]

ρ

What do I really need to know when I want to make generative music with modular synths?

[rofilm1]

δ

Why are modular synthesizer systems so useful for producing generative music, and how do I get the most out of them?

[rofilm1]

ν

Is generative music the most or the least human form of music?

[rofilm1]

γ

What are the ingredients for generative music, and how do the “kitchen tools” work, the tools I process these ingredients with?