Hydra Code

let p5 = new P5()
s0.init({src: p5.canvas})
src(s0).out()
let x = 0;
let y = 5;
let gridSize = 1000;
let r = 255;
p5.hide();
p5.strokeWeight(1);
p5.stroke(0);
p5.noFill();
p5.frameRate(20);
p5.draw = ()=>{
  p5.background(20);
    for ( x = 0; x < p5.width; x += (gridSize*(0.7+cc[0]/2))){
      for ( y = 0; y < p5.height; y += (gridSize*(0.7+cc[0]/2))){
        p5.fill(p5.map(255,0,127,0,255));
        let rand = p5.random(-5,5);
        p5.rect(x,y,gridSize+rand,gridSize+rand);
    }
  }
}

src(o0)
  .invert(()=>ccActual[1])
  .modulateScale(osc(20,[0.1,0.6]))
  .mask(shape(30,()=>cc[0]*1.5).scale(1,window.innerHeight/window.innerWidth,1))
  .modulatePixelate(noise(20,10),400)
  .mult(solid(1,()=>ccActual[1],()=>ccActual[1],1))
  .out(o1)
render(o1)

Tidal Code

d1 $ slow 2 $ s "superhammond*8" # note (scale "lydian" ("[a3*2] ~ a3 a3 c4 [e4 g4]")) # gain 1.2 # lpf 1000


d2 
$ fast 1
$ chop 64
$ "moog(5,8)"
   # gain 1.2
# up "-1"
  #legato 4
#crush (slow 2(range 1.2 1.8 sine))

d3 
$ fast 1
$ chop 32
$ "moog(5,8)"
# speed "3 2"
   # gain 0.8
# up 4
  #legato 4

d4 $ fast 0.5 $ chop 32 $ "ade:6" #speed "4 3" #room 1

p "ccMaskSize" $ ccv "127 30 60 5" # ccn "0" # s "midi"

p "ccColor" $ ccv "<1 0>" # ccn "1" # s "midi"
        

d5 $ slow 2 $ s "blip:8(3,8)" # gain 1.2 # up "<-1 1>"


d6 $ slow 2 $ jux rev $ s "hh*8 sn*4" # crush 8 # gain 0.8 # legato 1

Ruiqi Liu:

In this performance, I am in charge of the visual. I sticked to my preferred minimalistic and geometrical style. I wrote the basic shape using for loop using p5 instances, and then added effects using hydra on top of that. I also tried with lines, circles, ellipse, and squares, and found out that grids look best.

Rebecca & Mike:
We had three main iterations on our tidal script when experimenting with long samples from different genres as we wanted to play with the chop and striate functions. In the early iterations of in-group jams, we developed our drum circle from acid and ambient samples respectively as these two genres have a strong contrast. The acid samples feature a strong energy and a psychedelic feeling, while the ambient samples create a peaceful and calm atmosphere of the audio. These practices helped us open up our mind and had a better idea of how to arrange patterns according to the various textures from and potential emotions brought by the samples. In the final version, we decided to use built-in samples and synth, and utilize effects like legato, and chop to create our own sounds instead of directly using ambient samples. We also wanted to include a transition and an ending to make our project more complete, so we added a strong crush effect to let the synth sound raw and distorted, while adding a strong color transition for the pattern. For the ending, we gradually minimized the pattern and the audio at the same time, and eventually kept the ambient synth on going.