Commit ce887b78 by PLN (Algolia)

perf(set): PLN's in-flight edits — the controls come back onto their own orbits

Twelve files PLN had been working live, committed as his own change before any
tooling touches them. Not a refactor: this is the set moving under his hands.

The through-line is the #94 remap paying off. The remap had COMMENTED OUT every
control line that fired across columns — honest, but it left orbits playing with
their hands tied. He is now restoring them onto the CCs the orbit actually owns:

  gimme_acid  d1's kick variations were disabled because they rode ^42, which the
              remap gave to d2. Restored on ^41, d1's own gate — so the kick keeps
              its midiOn/midiOff variation without borrowing a neighbour's button.
  perfect     d5's SUPERSTAR chain was 14 commented lines. Rebuilt live on ^53/^33
              with a nested `midiOff "^89"` mask, so the slice logic is gated by a
              button instead of hardcoded.
  desire      the compile blocker is gone: `# pan 0.42plz /se` (line 46) is fixed.
              That one typo, in a file with no blank lines — hence ONE do-block —
              was killing every orbit in the track. Found by silent-eval learning to
              blame the track instead of itself; `silent-eval --seeded` now reports
              13/13 ok, the first time the whole OPAL setlist has built cold.

Also: d7→d6 in you_my_sunshine (with ^91→^90, ^59→^58) — the same consolidation he
made in do_it_right, freeing an orbit slot. This invalidates a hand-measured fixture
in tools/tests/test_orphan_orbits.py; the parser is right, the fixture is stale.

Orbit naming throughout (BASSE DU 3e cercle, Synth lapin speed, SuperStars, Breaks
divins), gain tuning, and backlog notes. Structural changes stay in the next commit
so this one reads as pure performance work.
parent dc0c8a34
......@@ -1915,23 +1915,28 @@ ParVagues et Shipow
## OPAL 2026
## Livecoding Techno DNB Nu-jazz
> Sunset Forest
1h30 - 20h30-22h
### _Ouverture_
-- [lightT][124] Ceci n'est pas Une Bombe
-- [lightT][133] WAP
-- [lightT][89*] Am i _Doing it Right_ ?
### _We call it TechnoJazz_
-- [jazzT][124] Take five Drops
-- [hardT][124] Piment Bresilien
-- [T][128] Perfect <3
### _We call it NuJazz_
-- [jazzTech][124] Take five Drops
-- [highTech][124] Piment Bresilien
-- [highTech][120] Eh ouais je Funk?
-- [110] Lime Tacos molotov acid?
-- [justTech][128] Perfect <3
-- [dnb][160] Gimme Acid??!?
-- [lightT][120] Vague de CRIME
-- [Hdnb][160] Mafia
??TRANSITION???
-- [Hdnb][166] Sunshine
?transition?
-- [hardDnb][160] Mafia
## FINALE
-- [129] Desire [TODO BASS]
-- [129] Desire [TODO BASS ETC!]
## Encore: Touch that funky outro
- REVOLUTION
......
......@@ -49,8 +49,23 @@ d3 $ gF1 $ gM1 -- OH/CY: Subtle offbeat hats, ^44 morphs to cymbal shimmer
-- FIXME BASS!!!
d4 $ gF2 $ gM3 -- BASS (the FIXME): D minor, grounded in measured key (corr=0.903)
$ midiOn "^45" (# crush 6)
$ note (scale "aeolian" "0 . 0*<1 2> . <0 3> . 0*<1 1 4>" + 2 - 12) -- +2 = D root
# s "supersaw" # voice 0.05
$ note (scale "aeolian" "0 . 0*<1 2> . <0 3> . 0*<1 1 4>" + 2 - "[24,36]") -- +2 = D root
# "bassWarsaw" # voice 0.05
# lpf (range 300 1800 "^32") # resonance 0.2
# gain 1.15
d4 $ gF2 $ gM3 -- Claude's Weight
$ midiOn "^45" (# crush 6)
$ note (scale "aeolian" "0@5 0 <2 3> <1 0>" + 2 - "[24,36]")
# "bassWarsaw" # voice 0.05
# lpf (range 300 1800 "^32") # resonance 0.2
|* gain ("1@5 0.94 0.98 0.92" * 1.15)
d4 $ gF2 $ gM3 -- Claude's Gesture
$ midiOn "^45" (# crush 6)
$ (0.125 <~)
$ note (scale "aeolian"
"<[0 3 0@14] [0 <2 4> 0@14] [3 0 2@14] [0 3 <0 -3>@13 ~]>"
+ 2 - "[24,36]")
# "bassWarsaw" # voice 0.05
# lpf (range 300 1800 "^32") # resonance 0.2
# gain 1.15
d6 $ gF1 $ gM2 -- ACID ARP: D minor, 4/16 square rises, ^59-driven
......@@ -81,7 +96,7 @@ d9 $ gF2 $ gM3 -- Announcing SYNTH
-- # lpf 3000
# gain 1.9
# room 0.4 # sz 0.7 # dry 1.4
d7 $ gF3 $ gM3 -- Voices
d7 $ gF3 $ gM3 -- Voices FIXME order of voices? not sure which is what atm ahah
$ midiOn "^91" (ply "2 <2!3 <4 8>>")
$ fix ((6/8) ~>) (n 6)
$ fix ((1/8) ~>) (n 9)
......@@ -99,6 +114,7 @@ d7 $ gF3 $ gM3 -- Voices
(>| n "<6 ~ 6 ~ 7 ~ 7 ~ 8 ~ 8 8 9 9 9 9>"))
$ "desire"
# cut 7
# gain 1.3
d8 $ gF1 $ gM1
$ loopAt 2
$ midiOn "^92" ( -- Bouton Nassim <3
......
......@@ -8,10 +8,9 @@ let rq = pF "rq"
let filterRange = pF "filterRange"
-- lagTime = 0.12, filterRange = 6, width = 0.51, rq = 0.3;
d1 $ gF1 $ gM2
-- FIXME(#94) d1 drives more controls than the grid gives it (BT1 only — BL1-3 are the family mutes). ^42 now belongs to another orbit, so the line(s) below are COMMENTED OUT rather than left firing across columns. Nothing is lost — restore by removing the dashes once gSel folds this onto d1's own control.
-- $ midiOn ("^41"-"^42") ((<| "k(3,8) ~"))
-- $ midiOff ("^42"+"^41") (<| "k*<1!7 2> ~ . ~ <~!7 [k*2 k]>")
-- $ midiOn "^42" (fast 2 . (<| "k k k*<1!8 2!8> k*<1 <2!2 4>>"). (# "kick:4") . (|* gain 0.54))
-- $ midiOn ("^41") ((<| "k(3,8) ~"))
$ midiOff ("^41") (<| "k*<1!7 2> ~ . ~ <~!7 [k*2 k]>")
$ midiOn "^41" (fast 2 . (<| "k k k*<1!8 2!8> k*<1 <2!2 4>>"). (# "kick:4") . (|* gain 0.54))
$ "[808bd:1,808bd:11]" -- 1 4 6 9 11
# octersubsub 1.2
# gain 2
......@@ -34,7 +33,7 @@ d3 $ gF1 $ gM1
# room (slow 32 $ range 0 0.4 saw)
# dry 0.4
# sz 0.3
d4 $ gF2 $ gM3
d4 $ gF2 $ gM3 -- BASSE DU 3e cercle
$ midiOn "^44" (struct "t*16")
$ midiOff "^44" (mask "[f [t f t] t t@2]") -- SILENCES
$ midiOn "^76" (stutWith 4 "q" ((|* gain 0.9) . (|+ pan 0.1). (|+ cut 1)))
......@@ -48,7 +47,7 @@ d4 $ gF2 $ gM3
# room 0.5
# sz 0.4
# dry 1.8
d5 $ gF3 $ gM3
d5 $ gF3 $ gM3 -- Synth lapin speed
$ midiOn "^57" (# rq (slow 8 $ range 0.1 0.01 saw))
$ fast 2 $ arp "up"
$ note (cat [
......@@ -72,7 +71,7 @@ d5 $ gF3 $ gM3
# filterRange (range 0 8 "^53")
# filterRange (range 0 8 "^53")
# room 0.4 # dry 0.8
# gain 1.3
# gain 1.5
# octer 0.4
# att 0.01 # rel 10
-- # pan "[0.4|0.6]*8"
......
......@@ -3,16 +3,17 @@ resetCycles
do
-- setcps(144/60/4)
setcps(166/60/4)
-- TODO SoundDesign reconsiderations kick/snare
-- gF1/gF2/gF3 deliberately NOT redefined here: use BootTidal's safe-at-centre
-- gDJF. The old local form (# djfbus N (range 0.05 0.95 "^NN")) is the #21/#48
-- footgun -- djf 0.05 is a ~26 Hz low-pass, i.e. total silence, and that is
-- where an untouched/low knob sits. Bypass is djf 0.5, the CENTRE.
d1 $ gF1 $ gMute2
$ fix ((# lpf 150) . (|* gain 0.93)) "kick:5"
-- $ fix ((# lpf 150) . (|* gain 0.93)) "kick:5"
$ midiOn "^41" (<| "k k k <k <k*2 [k k k ~]>>")
$ midiOff "^41" (<| "k . ~ k ~ ~")
$ "[kick:5,tech:5,jazz]"
# gain 1.8
$ "[jazz]"
# gain 1.4
d2 $ gF1 $ gM1
$ midiOn "^42" (<| "~ c ~ c*<1!3 <2 [2 4]>>")
$ midiOff "^42" (<| "~ . c*<1!3 <2!3 4>> ~")
......@@ -29,7 +30,7 @@ d3 $ gF1 $ gM1 -- Highest hats
# "rampleS34:6"
# cut 3
# legato (range 0.28 1 sine)
# gain (1.1 * (range 0.85 1.05 (fast 4 perlin)))
# gain (1.4 * (range 0.85 1.05 (fast 4 perlin)))
# room 0.14 # sz 0.4 # dry 1
# pan 0.8
-- Emphasize "and" of beats
......@@ -62,15 +63,15 @@ d5 -- The Voice of Love
# gain 1.5
# cut 5
# room 0.3 # sz 0.3
d7 $ gF3 $ gM3 -- Guitar Sunshine
$ midiOn "^91" (ply 2)
$ juxBy 0.8 (rev . (#cut 71))
$ midiOn "^59" ( -- SLICE!
d6 $ gF3 $ gM3 -- Guitar Sunshine
$ midiOn "^90" (ply "2!3 <4 8>")
$ juxBy 0.8 (rev . chop 4 . (# cut 61))
$ midiOn "^58" ( -- SLICE!
ply "1 2" . slow 4 . chop 8 . (# n 24)
)
$ "no_sunshine/2"
# n (slow 2 "<20 20 21 22 23 24 25 26>")
# cut 7
# cut 6
# gain 1.4
# room 0.3
d11 $ gF3 $ gM3
......
......@@ -15,7 +15,8 @@ d3 $ gF1 $ gM1 $ dMask
$ midiOff "^44"(<| "~ h ~ h ~ h*2 ~ h*<1!15 2>" )
$ "h2ogmhh:19"
# hpf (slow 32 $ range 200 8000 sine)
d4 $ gF2 $ gM3
# gain 1.5
d4 $ gF2 $ gM3 -- La Funky Bass
$ midiOn "^57" (ply 2)
$ midiOn "^89" (slice 8 "<6>*<2 2 2 4 2 2 4 8 2 8 8 16 8 16 16 16>")
$ chop (8 * 8) -- 8 chops times 8 loops
......@@ -48,7 +49,7 @@ d7 $ gF1 $ gM1 $ dMask -- Tracey Trancey's loop art
$ loopAt 4
$ "trance_loops:0"
# cut 7
# gain 1.3
# gain 1.7
d8 $ gF1 $ gM1 $ dMask -- BYOB: Bring your own Breaks
$ midiOn "^92" ( -- Bouton Nassim <3
slice 16 "[0 .. 7]"
......@@ -64,7 +65,7 @@ d8 $ gF1 $ gM1 $ dMask -- BYOB: Bring your own Breaks
$ chop 4
$ loopAt 1 $ "jungle_breaks:78"
# gain 1.4
d10 $ gF3 $ gF3
d10 $ gF3 $ gF3 -- SynMenace
$ iter "1 4"
$ note ((scale "mixolydian" "0 1 2 3 3 4 5 6") + "<a4!4 a5!4>")
# s "giorgio_syn:5"
......
......@@ -99,8 +99,8 @@ d12
# gain 1.1
d8 $ gF1
-- $ gF1 $ gM1 -- La Boite à breaks de ParVagues <3
-- $ midiOn "^92" (ply "1 <2!3 4>")
-- $ midiOff "^60" (mask "t(4,8,1)") -- Techno drum mask
$ midiOn "^92" (ply "1 <2!3 4>")
$ midiOff "^60" (mask "t(4,8,1)") -- Techno drum mask
$ midiOn ("^36" - "^56") (loopAt 0.5 . (# "jungle_breaks:22")) -- Hmmm Break
$ midiOn "^56" (loopAt 0.5 . (# "jungle_breaks:23")) -- Raise COMEON!
$ chop 8
......
......@@ -46,7 +46,7 @@ d4 $ gF2 $ gM3
-- # octersubbus 43 (range 0 5 "^17")
# cut 4
# gain 1.5
d5
d5 -- SuperStars
-- $ gF3 $ gMute3 -- COUNT TO SUPERSTARDOM
-- $ slow 2
$ midiOn "^33" (
......@@ -56,21 +56,21 @@ d5
$ midiOn "^89" (ply "<2 4>")
-- FIXME(#54) d5 3rd+ effect: the grid gives d5 B5 + C5. Fold ^18 in via gSel rather than borrowing a column.
-- FIXME(#54) d5 drives more controls than the grid gives it (B5 + C5). ^18 now belongs to another orbit, so the line(s) below are COMMENTED OUT rather than left firing across columns. Nothing is lost — restore by removing the dashes once gSel folds this onto d5's own control.
-- $ midiOn ("^53" - "^18") ( -- THE HIPS THE FACE THE LIPS THE MICROPHONE
-- slice 4 "<0 1 0 1 2 2 [2 2] 3>"
-- . (# n 14) . (|* gain 0.8)
-- )
-- $ midiOn "^18" -- SUPERSTAR
-- (
-- -- mask "<t f!3>"
-- loopAt 4
-- . (0.5 ~>)
-- . (# n 8)
-- . mask "<t!4 t f t t>"
-- . (# end "<0.18!3 0.45 1!4>")
-- . (# begin "<0!4 0.5!4>")
-- . (|* gain 0.9)
-- )
$ midiOn "^53" ( -- THE HIPS THE FACE THE LIPS THE MICROPHONE
slice 4 "<0 1 0 1 2 2 [2 2] 3>"
. (# n 14) . (|* gain 0.8)
)
$ midiOn "^33" -- SUPERSTAR
(
midiOff "^89" (mask "<t f!3>" )
. loopAt 4
. (0.5 ~>)
. (# n 8)
. mask "<t!4 t f t t>"
. (# end "<0.18!3 0.45 1!4>")
. (# begin "<0!4 0.5!4>")
. (|* gain 0.9)
)
$ midiOn ("^57") ( -- Slice 1 2 3 4!
slice 8 "<[0 1] [0 1] [0 0 <0 1> <1 0>] [2 3]>" )
$ midiOff ("^57"+"^33" + "^53") ( -- WATCH ME WORK IT
......
-- MI! e gs a b c d ef tension e resolution
do
-- resetCycles
resetCycles
setcps (124/60/4)
d1 $ gF1 $ gM2
$ midiOn "^29" (# "kick:4")
......
......@@ -46,12 +46,12 @@ d5 $ gF3 $ gM3
# octersubbus 51 (range 0 0.8 "^33")
# octerbus 52 (range 0 0.4 "^33")
# crushbus 53 (range 16 5 "^53")
d7 $ gF3 $ gM3 -- TODO: Move to d6?
$ midiOn "^35" (# n 3)
$ midiOn "^91" (ply "<4!3 [8 16]>")
d6 $ gF3 $ gM3 -- ignite
$ midiOn "^58" (# n 3)
$ midiOn "^90" (ply "<4!3 [8 16]>")
$ slice 4 "<0 1 2 3 4 5 6 7>"
$ "daft" # n "2"
# cut 7
# cut 6
# gain 1.3
# dry 1.3 # sz 0.8 # room 0.4
# pan "0.7!3 <0.6 0.4>"
......
......@@ -9,7 +9,9 @@ d1 $ gMute2 $ gF1 -- Kick solide
$ midiOff "^41" (<| "k . ~ <~!3 k> ~ ~")
$ "[kick:4,jazz]"
# gain 1
d2 $ gF1 $ gM1 $ "~ c . <[~ c ~ c] [<c ~ ~ c> <~ c ~ c> . ~]>"
d2 $ gF1 $ gM1
-- TODO Pattern on button
$ "~ c . <[~ c ~ c] [<c ~ ~ c> <~ c ~ c> . ~]>"
# "cp" # gain 1.1
# lpf 2000
# room 0.4 # sz 0.6 # dry 1.04 # octersub 0.8
......@@ -37,7 +39,9 @@ d5 $ gM3 $ gF3 -- THIS SYNTH IS A CRIME <3
$ midiOn "^57" (-- LZRTAG CRIMINAL TAKEOVER <3 <3
("e" ~>) .
(>| n (slow 4 "<11!4 12!4 13!4 14!4>"))
. (# cps (140/60/4))
)
$ midiOff "^57" (# cps (120/60/4))
-- $ midiOn "^90" (ply 4) . (# begin 0.25)
$ midiOff "^57" ( -- Standard Crimes
>| n (slow 4 $ "<0 0 0 1 0 1 1 2>")
......@@ -61,9 +65,17 @@ d7 $ gM3 $ gF3 -- DARK LIPS <3
)
$ "crimewave" # cut 7
# gain 1.45
d8 $ gF1 $ gM1 $ chop 8 $ loopAt 2 -- FIXME IMPORT RICHER STACK OF BREAKS
$ "jungle_breaks:74"
d8 $ gM1 $ gF1 -- Breaks divins
$ midiOn "^92" (off "e" id)
$ midiOff "^60" (("e" ~>) . mask "t(<4 [4!3 8]>,16)")
$ chop 16
$ someCyclesBy "^36" (loopAt 1 . (# n 34))
$ someCyclesBy "^56" (chop 8 . loopAt 1 . (# "fbreak120:3"))
$ loopAt 2
$ "jungle_breaks:1"
# cut 8
# pan "[<0.35!3 0.65> <0.65!3 0.35>]*4"
# gain 1.3
d10 $ gF1 $ gM1 $ mask "<t f!7>" $ "risers:8" -- safe riser
d6 $ gF3 $ gM3 $ slice 4 "<0 1 2 <3 3*2>>"
$ "crimewave:15"
......
do
setcps (120/60/4)
d1 $ "break:2"
# cut 1
-- claude.tidal — the acceptance-test track.
--
--go on
-- Every orbit here is two things at once: a part of a piece of music, and an
-- assertion about the rig. That is deliberate. A test track made of test tones
-- proves the signal path works and nothing about whether MUSIC survives it, and
......
Markdown is supported
0% or
You are about to add 0 people to the discussion. Proceed with caution.
Finish editing this message first!
Please register or to comment