This project explores the realm of sound synthesis and control within a modular interface, aiming to create generative music systems that offer flexibility, creativity, and efficient parameter control. The study focuses on two main sound sources: multichannel-based additive synthesis and granular synthesis. Additive synthesis, utilizing the sum of sine waves, provides a comprehensive sound source, while granular synthesis involves dividing complex waveforms into small grains for sonic manipulation. The modular interface employs optimized and fast multichannel (MC) objects, enabling efficient additive processes and the generation of harmonic series. To maintain smooth transitions between grains and prevent clipping, a buffer~ approach is employed, dividing waveforms into grains and applying Gaussian envelopes to ensure optimal playback. Additionally, a hybrid control mechanism is adopted, allowing for both collective and individual parameter control. The system's parameters are designed as "modes," representing the simultaneous movement of all parameters. To facilitate mode transitions, the concept of interpolation is introduced, with MPLRegressor~ from the Fluid Corpus Manipulation Project serving as a neural network-based tool for predicting parameter values based on assigned coordinates. The study highlights the importance of mapping parameters and controlling the interface through a pitchslider and 24 parameter values. Pinpointing specific modes within the system enables optimized interpolation between data sets, resulting in smooth transitions between modes. Through this research, the modular interface offers a powerful platform for sound synthesis and control, empowering musicians and artists to create dynamic and immersive sonic atmospheres. Overall, this project contributes to the field of sound synthesis and control by presenting a hybrid approach that combines additive and granular synthesis techniques within a modular interface. The integration of optimized multichannel objects, buffer~ approaches, and interpolation mechanisms enhances the creative potential and efficiency of the system, providing a flexible and intuitive platform for generative music production.
From the perspective of human experience, reflexes and perceptions emerge as interconnected phenomena. The process of classifying all the elements we perceive and transforming them into physiological responses occurs almost simultaneously. We can consider the impact of these experiences on us as a result of the chain of actions involved in perception and reflection. It is important to note that external sound sources encompass highly complex processes in this context. Here, external sound sources and musical content are not the same thing. However, it should be noted that a definitive distinction between the two has not been made from the past to the present. They are two types of phenomena that are intertwined in many ways. What distinguishes musical content from external sound sources is that music is not merely an external auditory signal. On the contrary, music, besides being an auditory signal, consists of intentional and hierarchically organized sequences of expressive motor acts that go beyond the signal itself (Molnar-Szakacs & Overy, 2006, as cited in Overy & Molnar-Szakacs, 2009, p.489).
The interpretation that musical content production can be considered as a reflection of the sensory process during the perception. In this process, we know that the scope of "melody" has a broad musical value. We have an auditory perception process that identifies acoustic sound sources as separate sound images. In this sense, the distinctiveness of sounds is meaningful and can be considered as fundamentally serving a biological purpose. However, the fact that all distinct sounds exhibit similar spectral and temporal characteristics can lead us to identify some multiple acoustic sound sources in the same auditory image. According to Huron, this is considered a deception of brain functions. In this context, we can define "melody" as a new one stream line auditory image formed by the fusion of notes perceived as pitches. Therefore, composers are inclined to design these perceptual illusions in a way that can be transformed into meaningful sound patterns. In this paper, I will analyse the first section of Isaac Albeniz's Op.47, No.5 solo guitar piece. The main reason for choosing this piece is that, during a period when my musical selectivity was relatively low, I repeatedly listened to this piece, resulting in hypothetical melodies that I perceived in the piece are not actually present.