[sdiy] Pink Tunes self-composing program.

[David Bulog]

Hi David
Happy New year ——I’m looking for both more music made with the program and also any info about the program  itself
The Larry Fast record blew me away with the potential of Pink Tunes .

cheers Dave

> On 2/01/2018, at 11:08 am, David Manley <dlmanley at sonic.net> wrote:
> 
> Hi David,
> 
> It's not clear if your looking for the program or more music made with it?
> 
> Marvin Jones has a lot of the Polyphony magazines scanned and available here:
> 
> http://sonic.net/mjones/archive/docs/index.html#polydocs <http://sonic.net/mjones/archive/docs/index.html#polydocs>
> The source for Pink Tunes (assembly code) is in this book: 
> The Source: Book of Patching and Programming, ISBN 0-933338-00-7, 1978
> 
> The chapter you want is:
> https://www.dropbox.com/s/tpr9tc2cq9jxi6h/Source-Pt6.pdf?dl=1 <https://www.dropbox.com/s/tpr9tc2cq9jxi6h/Source-Pt6.pdf?dl=1>
> -Dave
> 
> P.S. Marvin worked at PAiA with John Simonton.
> 
> On 12/31/17 4:04 PM, David Bulog wrote:
>> Happy New Year all!
>> Looking for more  Pink Tunes program 
>> Thanks in advance
>> David
>> 
>> "COMPUTER EXPERIMENTS, VOLUME ONE <https://www.discogs.com/Synergy-Computer-Experiments-Volume-One/master/9356>" is a recording of three different executions of a microcomputer self-composing program. The program, called Pink Tunes was written by John Simonton <https://www.discogs.com/artist/2851587-John-Stayton-Simonton-Jr>of PAIA Electronics, inc. and is an application of the stochastic process to electronic music. In simple terms, the computer is given a narrowed field of notes, durations, harmonies and the like from the total spectrum of all possibilities. The composer sets all of the musical ground rules, but then lets the computer combine and "compose" the musical elements in constantly varying ways according to stochastic, or controlled randomness structures. 
>> 
>> All of the musical manipulations are carried out within the computer in digital form. Each musical note, time duration or other parameter is represented by a specific number in digital code. It is only after the computer has finished its decision making process and output its results digitally that the code is converted into control voltages that an analog synthesizer can use. In theory, a similar program could be used to direct synthesis. 
>> 
>> The program will generate up to four-part harmonies on each run. Several passes using different synthesizer voicings for each overdub were used for these recordings. All sounds were generated by a Sequential Circuits, Ind. Prophet 5 synthesizer controlled by a PAIA 8700 6503-based microcomputer system via a specially designed Synergy System interface. Recording was done conventionally on an MCI one-inch eight-track recorder with DBX noise reduction. Mixing was through an MCI board to a Studer A80 two-track analog tape machine. All delays and echos were digitally produced using a DeltaLab DL-2 and an EMT 251 electronic reverberation system. 
>> 
>> Some more information about stochastic structures as they relate to electronic music can be found in John Simonton <https://www.discogs.com/artist/2851587-John-Stayton-Simonton-Jr>'s article about the Pink Tunes program in the July/August 1978 issue of Polyphony magazine (volume 4, number 1; Polyphony Publishing Co.; Oklahoma, City, Oklahoma). A general overview of the field including an extensive bibliography can be found in an article entitled "Compositional Applications of the Stochastic Processes" by Kevin Jones in the Summer 1981 issue of Computer Music Journal (volume 5, number 2; MIT Press; Cambridge, Massachusetts and London, England). 
>> 
>> Larry Fast <https://www.discogs.com/artist/325903-Larry-Fast> 
>> August, 1981 
>> Bath, England
>> 
>> 
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