The programming strategy was to begin by recording the violin to gather materials for further processing during the piece. I used four buffers (with applied Hanning windows to smooth the edges of the signal), recording into them sequentially for later looping. The buffers will be triggered via a pedal, which activated each buffer one after the other using a counter.
After recording into the four buffers, the gate for pitch shifting of one or two buffers would open, as they contain more low-frequency content, making the pitch shift more noticeable. The pitch shift was controlled in real-time using sensor data, specifically the Y-axis rotation parameter.
After exploring pitch shifting while playing the violin, the next gate will gradually increase the reverb gain over 10 seconds, rising from -70 dB to -5 dB. The reverb parameters (size, decay time, high-frequency damping and diffusion) are controlled by real sensor data, including the Y-axis rotation. The core concept of the reverb patch is inspired by the [yafr 2] as a plate reverb by Randy Jones, in the style of Griesinger, and is part of the Max MSP library.
Next, I applied another gain adjustment using the same approach over 20 seconds to gradually introduce the chorus and granular sections. For this part, I primarily used DTW data from Wekinator to switch between different granular synthesis patches, while real sensor data controlled the chorus via the X-axis rotation parameter. The setup includes six granular synthesis patches, triggered at varying tempos. Three of these patches feature randomized start/stop (grain positions) and duration settings, creating diverse densities and sizes of the grain with or without pitch shifting and reverse effects. The remaining three granular patches have their parameters controlled by the Y-axis rotation sensor. In this section, the resulting sound creates harmony across different frequency ranges.
