https://drive.google.com/file/d/1adPCNibbfjbH3312wOzAxCuNja6UMrZy/view?usp=sharing (in case video is not playing)
Sound code:
setcps 0.8 d1 $ slow 4 $ arp "up down diverge converge" $ note "c'maj'4 d'min'4 a4'min'4 g4'maj'4" # s "supervibe" d2 $ ccv "<127 0 127 0>" # ccn "0" # s "midi" -- drums d3 $ "bd sd " # room 0.2 d4 $ ccv (segment 128 (range 127 0 saw)) # ccn "1" # s "midi" --d2 $ ccv (stitch "" 127 0) # ccn 0 # s "midi" -- bass line d5 $ slow 4 $ note "c34 d44 a38 g34" # s "superhammond:5" # legato 0.5 d6 $ ccv "<0 20 64 127>" # ccn "2" # s "midi" xfade 4 $ slow 4 $ note "c'maj d'min a'min g'maj" # s "superpiano" -- "superchip" # legato 1 # djf 0.3 # gain 0.85 d7 $ ccv "<127 0 127 0>" # ccn "3" # s "midi" --swoooooop once $ s "auto:3" -- variation of arp chords d1 $ jux rev $ slow 4 $ arp "up down diverge converge" $ note "c'maj'42 d'min'42 a4'min'42 g4'maj'42" # s "supervibe" d2 $ ccv (segment 128 (slow 4 (range 127 0 saw))) # ccn "2" # s "midi" do solo 5 solo 4 d8 $ slow 4 $ arp "converge" $ n "c'maj'42 d'min'42 a4'min'42 g4'maj'42" # s "superpiano" -- "superchip" # voice 0.7 # gain 0.6 # amp 0.4 # room 0.7 # sz 0.9 # legato 1.1 # djf 0.8 # gain 0.7 d9 $ ccv (segment 128 (range 127 0 saw)) # ccn "4" # s "midi" do solo 10 d10 $ s "bd*8" do d10 $ s "bd*2" unsolo 5 unsolo 4 unsolo 10 -- vocals d12 $ slow 4 $ note "[~ ~ c ~] [~ ~ d ~] e g4" # n "1 2 3 44" # s "numbers" # amp "1 0.8 2.2 1.3*4" # legato 1.5 # gain 1 # room 0.3 # djf 0.8 d14 $ ccv "<80 100 120 100>" # ccn "10" # s "midi" d11 $ degradeBy 0.4 $ jux rev $ note "a b [c f] [e f] a [g d] e t" # s "superpiano" # room 0.3 # gain 0.95 # djf 0.3 d8 $ ccv "<127 60 127 60>" # ccn "11" # s "midi" d13 $ degradeBy 0.8 $ jux rev $ every 2 (rev) $ n "0 1 2 3 4 5 6 7 8" # s "glitch" # gain 0.75 # legato 1 # speed (slow 4 $ range 0.5 1 saw) d15 $ ccv "<127 0 64 127 0 64>" # ccn "12" # s "midi" do d13 silence d11 silence all $ (# djf (slow 4 $ range 0.2 0.8 sine)) all $ (# legato 0.05) d6 $ ccv (segment 128 (range 127 0 sine)) # ccn "5" # s "midi" do d12 silence all $ (# speed (slow 4 $ range 0.5 2 sine)) all $ (# cps (slow 4 $ range 0.5 (fast 3 $ range 0.3 2 sine) saw)) all $ fast 1 hush
Visual Code:
voronoi(5,-0.1,5) .add(osc(1,0,1)).kaleid(21) .scale(1,1,2).colorama(()=>cc[5]).out(o1) src(o1).mult(src(s0).modulateRotate(o1,100), -0.5) .out(o0)
What I had in my mind was to create a “floral” pattern with vibrant colors in visuals to go along with my sound composition. The sound uses various synthesizers like supervibe, superhammond, superpiano, etc. The arp function generates arpeggios, while note specifies pitches. slow and jux rev are used to modify the playback speed and direction, adding variation and texture. once, solo, and unsolo are utilized for structural changes, introducing, highlighting, or removing elements temporarily. Drums and bass lines are created using both synthesized sounds (bd, sd) and MIDI-controlled instruments. Throughout the composition, various effects such as legato, gain, room, djf (filter), and amp are used to shape the sound’s envelope, volume, reverb, and filter cutoff, respectively. The all function applies effects (djf, legato, speed, cps) globally, affecting all patterns to create cohesive changes in the texture, tempo, and timbre of the composition.
The use of voronoi, osc, kaleid, and scale functions in combination is pivotal in generating visuals that resemble changing flower patterns. voronoi creates cell-like structures that can mimic the segments of a flower, osc adds movement and texture, kaleid with a high value (21) generates symmetrical, kaleidoscopic patterns resembling the petals of flowers, and scale adjusts the size, allowing the visuals to expand or contract in response to the music. colorama is used to cycle through colors dynamically, which is linked to the tonal shifts in the music.
I approached this by first composing the music in tidalcycles, then creating a visual pattern in hydra that I like, and binding them together. Challenges were to keep the composition interesting even with using one kind of visual. I had tried a lot of variants but it quite didn’t fit together to jump around on them while playing a consistent musical compostion – so I sticked to one. But developments could be made that my visual composition also unfolded gradually by starting from something simple then maybe blooming to these big floral patterns. Also I could’ve been more consistent with the color palette.