Polaris

I created a program that is intended to remix audio so that every sine wave component in every harmony that occurs in it is ideally panned and ideally loud. It makes use of the Fletcher Munson equal loudness curve, among other things. Here's a little remix of J.S. Bach's organ sonata that I generated to test it out. There is one small imperfection in its functionality that I can't really do anything about because there isn't any precise scientific data of the kind I'm looking for on the human perception of panning. It still produces pretty good results:

I developed a method of getting the panning and the loudness of every partial (sine wave sound component) in the song exactly where I want it in a matter of seconds. It's been yielding results that sound pretty good to my ears. My theories seem to be working. Incidentally, the principles behind this method of mixing were inspired by my faith in God.

I greatly improved the program by integrating stricter voice leading logic. Here's some output:

Today I was up without end working on a new program I invented. I promise that this one doesn't sound horrific like the others I've done. In fact, it is frankly quite genius. All I do is enter a melody, and the program then generates counterpoint in up to 5 voices in a matter of less than a few seconds:

This is by far my most fugal composition. I had today some realizations about the nature of music that really played into the unfolding of its structure:

What a coincidence. There are a whopping 24 standard keys to choose from, and we have the same favorite. Of course, in a world with things like the Birthday Parodox, that is perhaps after all not so surprising. It's extremely nice having perfect pitch, isn't it? They say it's a curse, but it's the difference between hearing in black and white, as normal people do, and hearing a whole spectrum of colors. In truth, I can't fathom how ordinary people hear. Apparently, they hear structure--intervals--but do not associate particular notes and keys with any unique qualities. I always wonder how they can even perceive a key change. To me, a change of key is, for example, like going from yellow to purple. But they evidently do not have that experience--for them it's purely about the intervals. I took a genetic test recently which showed that I apparently have heightened musicality from distant Finnish ancestors. I wonder if this is where I get the perfect pitch from. I am not Asian, to be sure, so it isn't related to having Chinese ancestry (Chinese people have a very high rate of perfect pitch, probably due to a mix of genetics and the nature of their language).

My favorite musical key happens to be C# Minor. Soundcloud has evidently caught onto this as seen by the fact that half of the music it recommends to me happens to be in said key. C# Minor for me evokes spiritual depth and drama, and I experience it as generally having a softly glowing sunset orange coloration.