A Systematic Introduction To Making Generative Music With Modular Synths (click and learn more about the book)
A Systematic Introduction To Making Generative Music With Modular Synths
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Description and preview:
Chapter 0: About This Course And Some Words About What Generative Music Is 6
Chapter 1: Real Randomness vs. Complex Cycles (and the combination of both) 10
Chapter 1.1: LFOs 10
Chapter 1.2: Other Devices Generating Regular Cycles 59
Chapter 1.2.1: Looping Envelopes 59
Chapter 1.2.2: Sequencers 64
Chapter 1.2.3: Shift Registers With Feedback 65
Chapter 1.2.4: Sequential Switches 70
Chapter 1.2.5: The Turing Machine – Part 1 74
Chapter 1.2.6: Samples and Recordings 77
Chapter 1.3: Randomness, Probability and Stochastic 79
Chapter 1.3.1: Some Basic Definitions 79
Chapter 1.3.2: Sample & Hold 84
Chapter 1.3.3: A Short Glimpse at the Turing Machine And at Shift Registers Again 92
Chapter 1.3.4: Perfect Pseudo Randomness: Gray Code Modules 93
Chapter 1.3.5: Imperfect Pseudo Randomness: Euclidean Sequencers 99
Chapter 1.3.6: Random Trigger (Percussion) Sequencers
with Different Amounts of Randomness 102
Chapter 1.3.7: Stochastic Sequencers 105
Chapter 1.3.8: Probability Gates (Random Clocked Gates) 108
Chapter 1.3.9: Bernoulli Gates 110
Chapter 2: What to Modulate And to Trigger 115
Chapter 2.1: Pitch 116
Chapter 2.2: Timbre 125
Chapter 2.2.1: Filter 125
Chapter 2.2.2: Shapers 127
Chapter 2.2.3: Partials (additive) 130
Chapter 2.2.4: FM/PM 131
Chapter 2.3: Voices 134
Chapter 2.4: Rhythm 137
Chapter 2.5: Effects 147
Chapter 2.6: Envelopes 149
Chapter 2.7: Quantizers 153
Chapter 2.8: Grains 155
Chapter 2.9: Sample (Player) 159
Chapter 2.10: Slew Limiter 160
Chapter 2.11: Comparators 161
Chapter 2:12: Pitch Shifter 163
Chapter 3: Compositional Aspects of Generative Music 165
Chapter 3.1: General Thoughts, Strategies And Basic Compositional Decisions 166
Chapter 3.2: Basic Compositional Techniques 177
Chapter 3.2.1: Contrasting 178
Chapter 3.2.2: Repeating, Modifying and Inverting Relations 180
Chapter 3.2.3: Basic but Exclusively Generative Techniques 183
Chapter 3.3: Specific Compositional Techniques 190
Chapter 3.3.1: Pitch Dependency 190
Chapter 3.3.2: Rhythm 192
Chapter 3.3.3: Tension and Layers 195
Chapter 3.4: Certain Patch Techniques And Examples 197
Chapter 3.4.1: Switching Voices and Larger Parts of the Patch 197
Chapter 3.4.2: Sculpture Randomness and Setting Borders 200
Chapter 3.4.3: Jumping between certain BPM and Inverting Pitch Lines 200
Chapter 3.4.4: Mixing Stable and Random Elements 205
Chapter 4: Some Building Blocks of Generative Patching 207
Chapter 4.1: The Instrumentation of Envelopes 207
Chapter 4.2: 5 Faces of Randomness 217
Chapter 4.3: Random Harmonies 227
Chapter 5: Certain Modules with Generative Potential 233
Chapter 5.1: The Turing Machine 235
Chapter 5.2: Befaco´s “Rampage” 241
Chapter 5.3: Instruo “Céis” 247
Chapter 5.4: Mutable Instruments “Stages” 250
Chapter 5.5: Mutable Instruments “Grids” 255
Chapter 5.6: Intruo “tágh” 259
Chapter 5.7: Mutable Instruments “Marbles” 262
Chapter 5.8: Instruo “harmonàig” 276
Chapter 5.9: 4ms “Spectral Multiband Resonator” 285
Chapter 5.10: Mutable Instruments “Clouds” 290
Epilogue 294
Appendix A: Feedback Graphs (only 1 LFO) 299
Appendix B: Note Frequencies 316
Appendix C: “Rampage” Block Diagram 319
Appendix D: Your Personal Advantage 320
Appendix E: Copyright 322
Appendix F: Contact and Social Media 323
