Binary Rhythm Synthesis

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[edit] Binary Rhythm Synthesis

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Although this method is discussed primarily in reference to the arrangement of events over time, the time axis could be replaced by any logical domain, such as notes in a scale, or movements in a composition.

This method provides a simple mathematical algorithm which can be used to synthesize musical sequences by representing each event, e.g. drum hit or note, in a track as a bit in a binary word, where ones indicate the presence of an event, and zeros denote no event.

Each span of time must be quantized into a fixed resolution, here after referred to as R, which corresponds to the smallest interval (e.g: 1/8th, 1/16th, etc.) used in the sequence. The binary representation of that span is equal to 1/R, e.g: for R = 1/8, the binary word representing that span will be a binary word composed of 8 bits. For basic beat synthesis, the first event in the sequence must be represented by the least significant bit in the word.

Each word represents the arrangement over time of a particular kind of event - e.g: a note in a scale, or a drum in a kit. By combining multiple words with harmonic relationships to each other, one can easily create rhythm sequences for drums. To begin, create one word to be related to the rest of the sequences.

Consider a simple techstep bass drum line, with the kick occurring at positions 0 and 5. An 8-bit binary word representing this would be:

10000100

In decimal, this equates to: 2^0+2^5 = 33

To create new sequences bearing a harmonic relationship to this, use the fibonacci seuquence to generate new words. e.g:

33*(2,3,5) = (66,99,165), or in binary:

66 = 01000010

99 = 11000110

165 = 10100101

Note that higher harmonics exceed the maximum possible 8-bit value. At this point, how you choose to sequence the beats is up to the author. One can consider it as part of a new 16-bit word, or truncate it to only the bits which fit within the 8-bit frame. One might construct beats according to a particular pattern. For example, the sequences yielding various types of waveforms, e.g: all harmonics lead to sawtooth wave, whereas all odd harmonics yield square wave. Additionally, to create beat progressions, one might add harmonic multiples to the original input word, and recalculating the corresponding harmonics for the other words in the sequence. The possiblities are limited only by your imaginiation.

This method was conceived and developed by Matt Fowler, a.k.a method in 2005.