Midi To Bytebeat Patched -
use_midi_defaults channel: 1
live_loop :midi_bytebeat do
note, vel = sync "/midi:midi_input:1:note_on"
freq = midi_to_hz(note) * 2
with_fx :bitcrusher, bits: 8 do
synth :beep, note: note, release: 0.2
# Or generate bytebeat via synthdef
end
end
(Not pure bytebeat, but shows patching logic.) midi to bytebeat patched
out = (t * (freq >> 4)) ^ (modwheel * 1024) & (255 << (7-vel)) (Not pure bytebeat, but shows patching logic
Yes, it’s harsh. That’s the point.
The & (AND) operator masks bits, creating distinct harmonic resonances. The & (AND) operator masks bits, creating distinct
If velocity is low (e.g., 15), the output is quiet and sparse (fewer bits set to 1). If velocity is high (127), the output is loud and harmonically rich. However, because of how binary works, specific velocities will create specific harmonic "fingerprint" masks.
use_midi_defaults channel: 1
live_loop :midi_bytebeat do
note, vel = sync "/midi:midi_input:1:note_on"
freq = midi_to_hz(note) * 2
with_fx :bitcrusher, bits: 8 do
synth :beep, note: note, release: 0.2
# Or generate bytebeat via synthdef
end
end
(Not pure bytebeat, but shows patching logic.)
out = (t * (freq >> 4)) ^ (modwheel * 1024) & (255 << (7-vel))
Yes, it’s harsh. That’s the point.
The & (AND) operator masks bits, creating distinct harmonic resonances.
If velocity is low (e.g., 15), the output is quiet and sparse (fewer bits set to 1). If velocity is high (127), the output is loud and harmonically rich. However, because of how binary works, specific velocities will create specific harmonic "fingerprint" masks.