First a big thanks to Michael Gogins for all his contributions including his adaptation of the PadSynth algorithm by Nasca Octavian Paul. And of course thanks to Nasca as well for making it so freely available.
I hope to someday see the Csound implementation of Paul's Extreme Sound Stretch expanded to include more of the available parameters.
Sometimes I like to work with "isolation exercises", creating within a specific framework. I decided to try writing a piece using only the PadSynth.
It uses two different adaptations of the algorithm - the Csound GENpadsynth opcode and the PADsynth instrument included in Caustic 3 which is a little more user friendly given the graphical interface and the ability to more easily automate parameters.
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I love your textures. Personally, they put me more in mind of dark
SciFi, though that should be SciFi looked at from the 80s. I like
these almost atonal textures, like 48-51 seconds. The piece would have
had a very different atmosphere without the bass. It's a good addition.
Great sound palette overall!
The DALL-E (AI artwork?) was extremely effective at creating a fearful and utterly creepy “dead forest” atmosphere. It was like watching a B&W Tim Burton creation while listening to an X-Files soundtrack.
Very enjoyable!
Any and all Csound orc/sco code you care to share here would be welcome…the sounds were rich and fat, and the upper bell-like sounds for the melody were evocative, too.
I like