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Rivet 0.4.0 tells a motif as a story. A timeline of blocks with roles (statement, answer, departure, return, rest) replaces tasks, pins and branches. Rivet writes each block from a motif and joins the seams with a cut, breath, pickup or approach. - Motifs of 1-8 bars in a bin of 16; storyboards up to 32 bars. - Meters 2/4, 3/4, 4/4, 5/4, 6/8, 7/8 and 12/8 for import, writing, audition and export. Phrygian, harmonic minor and Mixolydian scales. - Per-block options, Another take and Keep; templates for new boards. - Editor rebuilt: motif bin, timeline, large piano roll, inspector, tabs for generation, harmony and sound roles, 32-step undo/redo. - Sessions from 0.1-0.3 open as a storyboard from their source motif.
97 lines
5.7 KiB
Markdown
97 lines
5.7 KiB
Markdown
# Theory: perceptual identity as a compositional resource
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The research and local reference work are consolidated in
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[psychoacoustics and creative direction](../research/psychoacoustics.md)
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and [Devath measurements](../research/devath.md). This document connects
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those findings to implementation choices and their practical limits.
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## Findings and their interpretation
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- Expectation is contextual. Recognition and deviation can both be rewarding;
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a mathematically novel note sequence is not automatically useful music.
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- Groove depends on how a pattern is heard against an orienting frame. Intermediate
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syncopation was preferred in particular experiments, not established as a
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universal genre-independent optimum.
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- Timbre can carry motion and contribute tension independently of MIDI pitch.
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Brightness, roughness, noisiness, loudness, and harmonic stability are distinct.
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- Relative timing helps determine which events form one perceived stream. Passing
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a gesture between sound roles should preserve chosen connections.
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- Preference depends on experience and culture as well as sensory mechanisms.
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Musical rules should inform experiments rather than rank artistic worth.
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Primary research: [Cheung et al.](https://cms.mus.cam.ac.uk/publications/cheung-uncertainty-surprise/),
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[Witek et al.](https://journals.plos.org/plosone/article?id=10.1371/journal.pone.0094446),
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[Farbood and Price](https://bpb-us-e1.wpmucdn.com/wp.nyu.edu/dist/f/11865/files/2020/08/Farbood_Price_2017.pdf),
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[Elhilali et al.](https://pmc.ncbi.nlm.nih.gov/articles/PMC2673083/), and
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[McDermott et al.](https://www.nature.com/articles/nature18635).
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The genre-specific design connections are hypotheses, not reported findings from
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those studies or claims about Devath's intent.
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## What the references establish
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The seven local FLACs have measured differences in level, attacks, and broad
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spectral texture. HENKA and Phantasy contain substantial reductions followed by
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returns; Petals retains more consistent activity through much of its early span.
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These observations motivate exploring both contrast and continuous development.
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They do not identify exact notes, chords, emotional meaning, or melodic roles.
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## Implemented creative model (0.4)
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- A storyboard tells one motif through roles: statement (recognition), answer
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(reply), departure (contrast: register, rhythm, fragments), return (arrival),
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and rest (space). This puts the recognition/space/contrast/return findings
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directly on the timeline instead of hiding them in a task menu.
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- Seams between blocks carry explicit joins (breath, pickup, approach), so
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connection is a visible decision rather than an accident of concatenation.
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- Two sound roles can share or answer a motif through explicit routing. Each role
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has a separate MIDI channel, gate, velocity response, octave offset, and patch
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timing profile. The roles are user-assigned, not separated from mixed audio.
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- Each role can carry an optional, explicitly mapped MIDI CC trajectory. The tool
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sends controller data; the producer binds it to a synth macro. An internal voice
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does not simulate an arbitrary synth's timbre.
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- Patch attack compensation is scheduled using a short lead-in, and estimated
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release is accounted for when setting note-off times. These are editable timing
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estimates, not an automatic model of the target patch. Re-audition after tempo
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changes because millisecond offsets are compiled at the audition tempo.
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- Musical export stays on its original grid by default. Optional compensated export
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adds one bar of lead-in so early triggers have valid nonnegative MIDI times.
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## Producer workflow and evaluation
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Import a motif -> lock what defines it -> lay out roles on the storyboard ->
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pick an option per block and set the joins -> keep what works, take again where
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it does not -> distribute sound roles and map controllers -> audition through
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real patches -> export.
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Compare alternatives against the same surrounding loop and listening level.
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The useful outcome is a section the producer can own and develop further.
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All mappings and compensation are explicit. Original reference audio remains
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local. The model does not claim source separation, automatic emotion recognition,
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universal quality scoring, or a verified melodic transcription of Devath's tracks.
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## Concrete limits and implementation
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A motif is 1–8 bars; a storyboard is up to 32 blocks and 32 bars in one of
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seven meters. The bin holds 16 motifs. Each block stores up to three options.
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Sessions from versions 1–3 migrate to version 4; controller output stays
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disabled by default.
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Role assignment partitions existing notes, so it preserves a readable motif
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before sound design. It is not source separation or independent counterpoint.
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Controller curves span the phrase, interpolate at 32nd-note intervals and exact
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control points, and reset to explicit stop values. Their effect depends entirely
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on the synth mapping. Gates are capped at subsequent triggers in the same role;
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estimated release cannot guarantee that a patch becomes silent at that point.
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Negative attack triggers receive a warmup and a separate repeated-loop schedule.
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Composition and performance compilation run away from the audio callback.
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The callback uses fixed event storage and bounded control queues. Regression
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checks cover storyboard limits and joins, migration, locks, two-role event identity, MIDI
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channels/controller export, warmup/loop timing, mapping resets, and allocation-free
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rendering. Actual patch perception, FL Studio routing, and producer usefulness
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still require listening in the target workflow.
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For implementation, see [creative history](../../../plugins/rivet/core/src/creative.rs),
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[performance scheduling](../../../plugins/rivet/core/src/performance.rs), and
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[FL Studio acceptance checks](../fl-studio.md).
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