In short, no. *

If you are curious why the idea is flawed contact me and I will endeavour to explain.

* However, we aim not to disappoint here - so attached is a ringtone for your friend. It is generated from the data you provided and is therefore "personalised". As with all presents it's the thought that counts, and since you have put thought into this it is already a unique and special present. Your friend may be intrigued so you can tell him the mapping is

f(t) = ((ln F)^2)/2Fmax * 256 + 72 as a midi note number at the Y axis time in milliseconds.

http://www.pdpatchrepo.info/hurleur/ringtone.mp3

I've been getting into writing patches that generate music all by themselves, using mathematical
rules that apply quite nicely to music theory. I've made a few rhythm patches that make nice cross
rhythms using metronome division and delays (with values derived from multiples of the master
metronome), and i'll post these too if anyone is interested.

In this thread I'm showing off my "Mauritz Escher like Chord progressions" patch.
Screenshot:

Mp3: http://responsible7.googlepages.com/zenpho_escher_pd.mp3
Patch: http://responsible7.googlepages.com/zenpho_escher.pd

First some basic music theory:
(skip this if you're comfortable with chords, 7ths, and inversions)

A major scale is constructed of 8 notes, with the "root" note doubled at the 8th note.
For the key of C major (all the "white" notes on a piano) the names and numbers of the notes in
the scale of C-major are:

Name, Number:
C, 1st (root)
D, 2nd
E, 3rd
F, 4th
G, 5th
A, 6th
B, 7th
C, 8th (remember the root is doubled at the octave)

A triad is constructed of the 1st, the 3rd, and the 5th notes in the scale.
A SEVENTH chord is constructed of a triad (notes 1,3 and 5) PLUS the 7th note in the
scale. So a C major 7th is note 1,3,5,7 or C,E,G,B.

Up until now we've been describing "standard" voicings of the chords, in other words, the notes
are played so that the root is the lowest pitched note, the 3rd is higher, the 5th is higher
still, and the 7th is the note just below the octave of the root.

At the risk of sounding redundant, "octave numbers" after the note name help clarify which octave
the note is to be played in. To play a C major 7th on the third octave, we would write:
C3,E3,G3,B3. To play it an octave higher we would write: C4,E4,G4,B4.

"Inversions" of chords re-order the pitches of the notes, but still play notes with the same
"name" as the 3rd, 5th, 7th etc. For example:

C3,E3,G3,B3 is a standard C major 7th...

...and G2,C3,E3,B3 is an inversion. All the notes are there (C,E,G,B) but they are in a different
order to the normal "Root, Third, Fifth, Seventh" arrangement. In this case, we say that "the
fifth is in the root".

Okay so now we know what a major 7th chord is. Lets deal with chord progressions.

Now imagine playing C3,E3,G3,B3 and removing the "root" (the C3) from the notes played,
we have a chord that reads "E3,G3,B3" - we were playing C major 7th and now we're playing E minor.

*THIS IS A VERY IMPORTANT STEP* Moving from C major 7 to E minor sounds "natrual" because the
notes that occour in C major 7 ALSO occour in the E minor.

Now lets make this E minor chord a 7th...

We've said before that a 7th chord can be constructed by playing the 1st, 3rd, and 5th notes, PLUS
the 7th note in the scale.

The scale of E minor (a flavour of minor) is:

Name, Number
E, 1st (root)
F#, 2nd
G, 3rd
E, 4th
B, 5th
C, 6th
D, 7th
E, 8th (octave)

The 7th note is "D" so we add the D note to our E minor triad to make E minor 7th.
E minor 7th is therefore: "E3,G3,B3,D4".

We can extend this E minor again, removing the root, working out the new scale for G major, adding
the 7th to make G major 7th, and again, and again, and again... but if we do - we keep moving
*UP IN PITCH* and spiral off the end of the keyboard.

HOW THE PATCH WORKS

Okay, so what my patch does is to take the idea of generating new 7th chords over and over,
but to play inversions of these chords so that the notes stay inside a single octave. If the
"root" note is in the 3rd octave, C3 for example. Then when I move to E minor, the D4 is
transposed to be a D3, to keep within this octave range.

Due to the fact that there are 12 semitones in an octave, and notes that fall outside the octave
range will wrap around to be an octave lower. The maths for generating the new chords basically
involves taking each note in the current major 7th chord and adding two semitones to each note in
turn.

Now our terminology could cause confusion here, because there are "notes in a scale" and "notes in a chord"... So I'm going to define some notation to show when i'm talking about the notes in a
chord.

For example:

A C major 7th has the notes C3,E3,G3,B3.
Note-1-in-the-chord is to be defined as chord_note_1.
Note-2-in-the-chord is defined as chord_note_2.
Note-3-in-the-chord is defined as chord_note_3.
Note-4-in-the-chord is defined as chord_note_4.

chord_note_1 has the pitch C3.
chord_note_2 has the pitch E3.
chord_note_3 has the pitch G3.
chord_note_4 has the pitch B3.

It is important to be clear about the idea of "pitch", "chord_notes" and "scale_notes" because
because chord_note_3 has the pitch "G3" and scale_note_3 of C major which is the pitch "E3".

Back to the procedure for generating new seventh chords.

We generate a major 7th to begin with.
C3,E3,G3,B3.

We add 2 semitones to chord_note_1 to get "D3", and we leave the other notes alone.
Our chord now reads: D3,E3,G3,B3.
Which is an "inversion" of E minor 7th.

This time we add 2 semitones to chord_note_2 to get "F#3", and we leave the other notes alone as
before.
Our chord now reads: D3,F#3,G3,B3
This is an inversion of G major 7th.

This time we add 2 semitones to chord_note_3 to get "A3", we leave the other notes.
Our chord now reads: D3,F#3,A3,B3
This is an inversion of B minor 7th.

This time we add 2 semitones to chord_note_4 to get C#4...

*BUT C#4 IS OUTSIDE THE OCTAVE 3! So we TRANSPOSE it down to C#3*
Our chord now reads: D#3,F#3,A3,C#3
This is an inversion of D major 7th.

After my patch modifies all 4 chord_notes, it moves back to chord_note_1, and adds another
2 semitones... over and over.

Eventually we get back to C major 7th again, but on the way we move through a variety of different
chords that evokes very interesting changes of moods.

Want to try playing with it?
Mp3: http://responsible7.googlepages.com/zenpho_escher_pd.mp3
Patch: http://responsible7.googlepages.com/zenpho_escher.pd

Mp3cast~ : emits an mp3 stream to an icecast/shoutcast server.
The shoutcast~ object written by Olaf Matthes is a similar object for Windows

is there any mp3 stream for osX?

http://www.m-pi.com/this-is-serious-mum.mp3

ok break beat men !

I've also a special track arranged, organized in NUENDO and manipulations, transformations from pure data :
[url=http://impala.utopia.free.fr/membres/jerome/mp3/projets/exportation_d_artistes.mp3 ]http://impala.utopia.free.fr/membres/jerome/mp3/projets/exportation_d_ artistes.mp3
8 Mo

Some samples are from an audio advertissment (?) which is in Emule french when we download file. It' says that what we are doing it is illegal ! bouou !

***a remix of my favourite cthulu master:

[url=http://www.m-pi.com/sinewaves/hidaris-lash-inhaler.mp3 ]http://www.m-pi.com/sinewaves/hidaris-lash-inhaler.mp3

***the original lyrics to the following song were:
"i'm on the drug that killed river phoenix"

[url=http://www.m-pi.com/sinewaves/realfuckenhigh.mp3 ]http://www.m-pi.com/sinewaves/realfuckenhigh.mp3

***here's the type of rushed mania you get when you make a song in the 20 minutes before your laptop battery runs out

[url=http://www.m-pi.com/sinewaves/nobatts.mp3 ]http://www.m-pi.com/sinewaves/nobatts.mp3

***a recording of the lush clicks you get when using the trigon patch from kestner

[url=http://www.m-pi.com/sinewaves/tansai.mp3 ]http://www.m-pi.com/sinewaves/tansai.mp3

(link to patch) http://chiba.cool.ne.jp/kestner_2002/

That's awesome! I downloaded it a while ago and stumbled across it on a hard-drive cleanout session. Top work!



My only properly finished Pd track is at:

http://www.goedel.demon.co.uk/claudiusmaximus--moonlight-lens-flare--h ifi.mp3 (9.28MB, 320kbps)

It's "an inane 1980s dance remix" of Mike Oldfield's Moonlight Shadow, done for a competition at http://tfbfm.co.uk . Silly bouncy techno-rave! Featuring a dead president!

I wrote it in about 14 hours in one day, from the time the source mp3 finished downloading to the time the track was uploaded. That time included all patch programming, chopping up the source mp3 into lots of bits, practicing playing around with the patches, recording a 22min take of me playing around with it, and editing in Audacity those 22mins down to the 4mins final track.

so, umm...

i've been away for 5 weeks in europe, soaking up some of that lovely UK sun (sarcasm intended)...and hanging out with heaps of people...

get home, and think i might have a bit of a play round with logic audio to do some sequencing or something....bad move!! i forgot how much traditional softwares suck arse.

then turn pd on, initially just to beat-sync some samples....and fuck me dead! i chuck a few samples into my pd mainframe patch, and it just clicks straight away.

here's what it spewed out today ...don't downlaod this if you're expecting the normal glitchy - experimental music shit,,,,,but you can really make pd break some balls if you want to:

http://nml.cult.bg/msc/mpi/aerspaceinferno.mp3

[url=http://nml.cult.bg/msc/mpi/sukebe_waraii.mp3 ]http://nml.cult.bg/msc/mpi/sukebe_waraii.mp3

...umm, i just posted this in another thread, but maybe no-one will read it there?

this is a track i made using only pd...no other sequencing or processing or anything.

i really like using pd to do live sample manipulations, and controlling samples and sequences by midi knobs and keyboard inputs.....if anyone wants to talk to me about this...plz email me:

ink_about_graffiti@yahoo.com


^o^

hardoff

here you go.... a song i made using ONLY pd.....i'll put the patches up soon

sorry...it's a bit long...

http://nml.cult.bg/msc/mpi/sukebe_waraii.mp3