Algorave Jam Live Commentary episode 4

💻🎨🎼 The jam sessions run every Saturday night (UTC), livecoders of any experience are welcome (and encouraged) to join. 🦋 𝅘𝅥𝅮 𝅘𝅥𝅯 𝅘𝅥𝅰 𝅘𝅥𝅱 𝅘𝅥𝅲 Make More Music Do you use MIDI files? Monic Theory is my platform for new music theory and MIDI generation! https://monictheory.com 🦋𝄞 𝄡 𝄢 🟆 👀🛜 Original video    • Flok WeekEndJam 20260620 clpa x cleary x F...   🖱️⌨️ Do you want to #livecode in flok with us? Head over to the toplap discord!   / discord   MUSIC cleary clpa F!x swan VIZ savamala 00:00 Chord Progressions and Tritone Substitutions The flok session beings with cleary, F!x, savamala, clpa, and swan. It opens with an accessible chord progression on the bottom right. F!x uses a neutral gm_piano sound with a 3000 Hz high pass filter to keep the mix quiet while prototyping tritone substitutions. 01:26 Parallel Minor Mixing and the Kakeya Conjecture Swan introduces a C minor pattern that conflicts with F!x's C major progression, leading to a music theory explanation of why major and minor scales do not pair well simultaneously on the same tonic. F!x notes that savamala's sweeping linear background graphics look like fitting infinite needles into an infinitely small space, similar to the Kakeya conjecture. 06:00 Strudel Code Slicing vs. Traditional Score Writing A sample is sliced into 256 bits and applied with mask and speed functions. He praises how Strudel enables symbolic music representation, contrasting it to the slow process of manually writing out voicings in score-writing program Sibelius. 07:35 Labeling Conventions and Kick Drum Decay Modulation A naming pattern for semantic orbited labels. Demonstration of dividing a kick drum's decay time by 12 and 24 to create a short, noticeable drop and buildup effect. 11:03 Modulating Adjacent Keys and the DJ Camelot System Shifting the chord progression to an E minor 9 to venture away from the primary tonic while staying harmonically related. F!x explains this movement using the DJ Camelot system, which tracks adjacent regions on the circle of fifths using values from 0 to 11 with A and B suffixes. 14:20 Melodic Peak Guidelines and savamala's Visual Grid Melodic design guidelines, explaining that a phrase should have a single peak or valley to maintain focus. Analyzing the artistic visuals of grid masking over soft lines, right before clpa introduces mid-range percussion fills using tubular bells. 18:12 Audio Feedback, Transients, and Four-Part Visual Symmetry The commentary contrasts live coding visuals in Hydra with live music, noting that musical feedback is strictly limited to delay and reverb decorations. A comparison of the ultra-clear, rapid transients of tubular bells against the slower attack onset of claps, while the screen shifts to a ravey, four-part horizontal and vertical geometric symmetry. 21:50 Rational Rhythm Ratios, Power Rhythms, and Upper Register Reverb Why human ears prefer integer relations, Euclidean sets, and power rhythms over random note durations. A square wave in the upper registers with ADSR; using a massive reverb to blur the odd integers into a smooth noise pad. 26:31 Spectrum Deconstruction, Global Filters, and Harmonic Tempo Changes An audio spectrum audit tracking low kick drums, mid-range claps, and cleary's twinkly chimes sharing orbit 2. A breakdown of clpa experimenting with `.each()` and `.all()` functions, and another experiment multiplying the overall tempo by ratios of 2/3 and 3/2. 33:11 Transpose Inversions and the Human Breath Phrase Limit A square-wave melody line using a `.transpose("7,12")` call to invert perfect fifths into perfect fourths. He explains that melodies should fit within the duration of a single human breath, noting that vocal-bound phrasing makes an instrumental motif singable and easier for an audience to recall. 37:16 Cranking the Gear of Harmony and Avoiding Code Crashes Stepping away from C major requires turning the "Gear of Harmony," a crankable approach to music composition. Using random selection syntax pipes learned in Discord. 44:26 Re-pitching Kick Ratios, Bassoon Waveforms, and Breakcore Breaks Pitching a jazz kick drum sample using 1/2 and 2/3 speed alterations to create self-referential structures instead of deconstructive interference. F!x adds a clean bassoon sample to build small, focused lines instead of a massive "god function," before cleary triggers a breakcore finale using Dingo of Australia (DOA) breaks. #algorave #strudel #livecode #crativecoding #softwareengineer #musicianlife #artistlife