don at till.com
Sat Apr 13 20:20:46 CEST 2019
> On Apr 10, 2019, at 1:31 PM, Florian Anwander <fanwander at mnet-online.de> wrote:
> Congratulations! This is one of the rare occasions, when someones commitment to some "outlandish" content (which means only something to a small community like us) becomes rewarded by a larger public. I love moments like these.
Yeah, crazy. How often does that happen?
Thanks, all. I appreciate it.
Now, post your compositions! Let's see what you can do!
I'll point out that "Michael's Tune" was created by Ed Fredkin's then 8 year old son.
You've got a:
4-bit binary counter (C8 C4 C2 C1)
the clock itself (C 1/2), although I find this less useful
2-bit counter that advances once every 3 clock ticks (C6 C3)
31-bit shift register
and a 4-input XNOR gate
Have at it.
You can combine the two counters for a 2-against-3 rhythm. Or a 16x6=96 note pattern.
You can use the XNOR gates on just the counters to get variations of those bits. And delay those variations down the shift register.
You can do all sorts of LFSR tricks.
You can do a 4-bit LFSR, for a 15 note sequence, against the divide-by 16 counter, for a weird 240 note pattern.
You can make a theme develop over time by just adding an XNOR tap down the line.
You can include various longer notes (half, dotted-half, whole) by carefully tapping off the shift register.
Even the fixed 1 and 0 position are useful; crank the Major scale up to a Dorian mode, turn the XNOR into an XOR.
There's really a lot here. It's deeper than you'd think at first glance.
I have to say, I learned a lot from doing this. The reverse engineering, the analysis, the presentation, the interaction, and then... playing it for a long time. I keep discovering new mechanisms.
Donald Tillman, Palo Alto, California
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