Using fractals instead of Perlin Noise

[Tugdual]

When I look at a score, I see geometric figures, not noise. Often, what I see resembles Koch snowflake fractals. For instance, a square wave input might produce two notes. If you delve deeper, you would find a sub-square at the high level and another at the low level, resulting in four notes. This recursive digging can continue indefinitely.

By adjusting the pulse width, you can influence the tempo, while altering the signal height affects the spread of notes. This adjustment also determines how deeply you can recurse. Eventually, you can transform the square into other shapes.

I hope this explanation makes sense.

[Darryl]

When I look at a score, I see geometric figures, not noise. Often, what I see resembles Koch snowflake fractals. For instance, a square wave input might produce two notes. If you delve deeper, you would find a sub-square at the high level and another at the low level, resulting in four notes. This recursive digging can continue indefinitely.

By adjusting the pulse width, you can influence the tempo, while altering the signal height affects the spread of notes. This adjustment also determines how deeply you can recurse. Eventually, you can transform the square into other shapes.

I hope this explanation makes sense.

Interesting idea, thank you! We chose Perlin noise for its non-randomness. You can visualize it as clouds, kind of rolling and puffy like that. So the patterns take on a rolling shape that changes smoothly as the x,y coordinates are adjusted. When both motifs are using Perlin noise, and they are close together in the noise space, they make complimentary patterns. I like to make one motif play from the chord notes, and the other from scale. It can make some dissonance, but once dialed in, we get out of the chord note box and into some really interesting sounds.