Yahoo Tuning Groups Ultimate Backup makemicromusic One last batch here....

i couldn't navigate through the plethora of advertising layers

Mats ï¿½ljare wrote:
>
> Okay, so i've made a few more of the kind of deterministic
> "compositions" i posted here earlier. These are what's in the file:
>
> Tempo of subharmonics 49-96 applied to 12TET pitches.
>
> Meta-meta-meta-difference tone set of the ratios of 1 to the Golden
> Mean(great), e(amazing!), pi(not so great) and the square root of
> 2(ditto).
>
> http://rapidshare.com/files/55936284/last_batch.zip.html > <http://rapidshare.com/files/55936284/last_batch.zip.html>
>
> /ï¿½
>
> -- Kraig Grady
North American Embassy of Anaphoria Island <http://anaphoria.com/index.html>
The Wandering Medicine Show
KXLU <http://www.kxlu.com/main/index.asp> 88.9 FM Wed 8-9 pm Los Angeles

🔗Kraig Grady <kraiggrady@...>

🔗Carl Lumma <ekin@...>

🔗Kraig Grady <kraiggrady@...>

it is hidden in the middle of the 2nd page

Carl Lumma wrote:
>
> Me either. :(
>
> -Carl
>
> At 12:03 PM 9/15/2007, you wrote:
> >i couldn't navigate through the plethora of advertising layers
> >
> >Mats ï¿½ljare wrote:
> >>
> >> Okay, so i've made a few more of the kind of deterministic
> >> "compositions" i posted here earlier. These are what's in the file:
> >>
> >> Tempo of subharmonics 49-96 applied to 12TET pitches.
> >>
> >> Meta-meta-meta-difference tone set of the ratios of 1 to the Golden
> >> Mean(great), e(amazing!), pi(not so great) and the square root of
> >> 2(ditto).
> >>
> >> http://rapidshare.com/files/55936284/last_batch.zip.html > <http://rapidshare.com/files/55936284/last_batch.zip.html>
> >> <http://rapidshare.com/files/55936284/last_batch.zip.html > <http://rapidshare.com/files/55936284/last_batch.zip.html>>
> >>
> >> /ï¿½
> >
>
> -- Kraig Grady
North American Embassy of Anaphoria Island <http://anaphoria.com/index.html>
The Wandering Medicine Show
KXLU <http://www.kxlu.com/main/index.asp> 88.9 FM Wed 8-9 pm Los Angeles

🔗Aaron Andrew Hunt <aahunt@...>

🔗Carl Lumma <carl@...>

I didn't think much of them. The notes were a bit
too sparse (as opposed to "too many notes!"), and the
timbre a bit shaky. But then again I have very high
expectations of Mats' stuff, because so much of it was
really cool. How many of you have Mats Oljare
playlists on your computers? I do.

-Carl

At 08:11 AM 9/16/2007, you wrote:
>Not sure what meta-meta-meta means, but I enjoy
>listening to these! Thanks for posting them.
>
>Aaron Hunt
>H-Pi Instruments
>
>
>--- In MakeMicroMusic@yahoogroups.com, Mats Öljare <oljare@...> wrote:
>>
>> Okay, so i've made a few more of the kind of deterministic
>> "compositions" i posted here earlier. These are what's in the file:
>>
>> Tempo of subharmonics 49-96 applied to 12TET pitches.
>>
>> Meta-meta-meta-difference tone set of the ratios of 1 to the Golden
>> Mean(great), e(amazing!), pi(not so great) and the square root of
>> 2(ditto).
>>
>> http://rapidshare.com/files/55936284/last_batch.zip.html
>>
>> /Ö
>

🔗Mats Öljare <oljare@...>

> I didn't think much of them. The notes were a bit
> too sparse (as opposed to "too many notes!"), and the
> timbre a bit shaky. But then again I have very high

You have to consider the way these were "composed". There was actually
very little conventional composition involved, only the choice of
tempo and absolute pitch, as well as where to start and end the
excerpt that i uploaded, besides the basic pitch set that "generates"
the piece.

It was inspired by this program, originally:

http://www.coverpop.com/whitney/index.php?var=v3

So, the higher the pitch, the faster the tempo, and harmonic relations
between two pitches result in them being played at the same time,
occasionally. The pitch relations can also be reversed, or be
unrelated to the tempo relations, as in the "12tet_48_96.mp3" piece.

The timbre, an absolute sine (with some reverb and EQ on the finished
excerpts) is not very interesting, but it comes from limitations with
using QBasic programs to render them. I could easily program some more
advanced form of synthesis, but that would make the already tediously
slow rendering progress even slower - we're talking about 5-10 minutes
for one minute of sound.

For the same reason, they are also rendered at a very low sampling
rate, and in 8-bit sound, which is the reason for the noise. The
background noise comes from adding 1 bit of noise to cover up the
quantization noise that would be audible otherwise. I know i don't
have to, but that's what i did. :P

Anyway, they are just demos of the capability of this kind of
composition. I did some other pieces earlier where i used pitch
transposition and mixing in Sound Forge to generate the "parts"
instead, but using that has other limitations.

Hopefully, the old download links still work....

/makemicromusic/topicId_17432.html#17432?threaded=1&m=e&var=1&tidx=1

> expectations of Mats' stuff, because so much of it was
> really cool. How many of you have Mats Oljare
> playlists on your computers? I do.

Do you have all the stuff from my old IUMA sites? I sometimes wonder
if anybody actually listened to them :D

I'm not as surprised as i am by this though:
http://profiles.friendster.com/4380957

>Not sure what meta-meta-meta means, but I enjoy
>listening to these! Thanks for posting them.

Perhaps i should explain better. "Meta" of course, means something
applied to itself, so what we're talking about here is difference
tones of difference tones of difference tones of difference tones.
Each of these started with two numbers, called A and B. Here's how to
render the "full set" of difference tones for them:

A+A
A+B
B+B

A-B

Meta:

A+A+A
A+A+B
A+B+B
B+B+B

A+A-B
A-B-B

Meta-meta:

A+A+A+A
A+A+A+B
A+A+B+B
A+B+B+B
B+B+B+B

A+A+A-B
A+A-B-B
A-B-B-B

The pattern should become obvious enough after that.

The Golden Mean for example, has a certain interesting property that
need not be delved into here. But i would like to know why the one
based on Euler's constant sounds so... pleasing?

/Ö

🔗Carl Lumma <carl@...>

At 05:03 PM 9/16/2007, you wrote:
>> I didn't think much of them. The notes were a bit
>> too sparse (as opposed to "too many notes!"), and the
>> timbre a bit shaky. But then again I have very high
>
>You have to consider the way these were "composed". There was actually
>very little conventional composition involved, only the choice of
>tempo and absolute pitch, as well as where to start and end the
>excerpt that i uploaded, besides the basic pitch set that "generates"
>the piece.
>
>It was inspired by this program, originally:
>
>http://www.coverpop.com/whitney/index.php?var=v3

Yes, I remember from last time. I'm not blaming you for the
composition!

>The timbre, an absolute sine (with some reverb and EQ on the finished
>excerpts) is not very interesting, but it comes from limitations with
>using QBasic programs to render them.

>For the same reason, they are also rendered at a very low sampling
>rate, and in 8-bit sound, which is the reason for the noise. The
>background noise comes from adding 1 bit of noise to cover up the
>quantization noise that would be audible otherwise. I know i don't
>have to, but that's what i did. :P

>> expectations of Mats' stuff, because so much of it was
>> really cool. How many of you have Mats Oljare
>> playlists on your computers? I do.
>
>Do you have all the stuff from my old IUMA sites? I sometimes wonder
>if anybody actually listened to them :D

I have A Ship Arrives.mp3, and then 29 MIDI files, from
Around the Wheel to Valley of the Lepers. I only kept the
stuff I liked.

>I'm not as surprised as i am by this though:
>http://profiles.friendster.com/4380957

WTF?

-Carl