Graphony vs midi

Graphony is a composition environment for academic and experimental composers. Rather than entering notes one at a time, you design a piece from the top down by drawing graphs of its musical parameters, then export a MusicXML score to complete in your notation software and render an audio version using sounds you record yourself. JUMPSTART A COMPOSITION WITH GRAPHS Set the length, meter, and tempo, then draw a curve over time for each parameter: - Pitch content (register and range) - Event duration - Density (how many events sound at once) - Dynamics - Connectivity, motivic patterns, and the amount of pitch-altering effects The graphs are the generative blueprint of the piece. Reshape a curve and the material follows, so you can audition many versions of an idea in minutes. Reference curves from your other parameters are shown underneath, keeping every decision in context. EXPORT A MUSICXML SCORE Graphony writes a clean MusicXML file you can open in Sibelius, Dorico, Finale, or MuseScore, then edit and complete by hand. The score is a point of departure, not a finished product: it is fully yours to refine and notate. HEAR IT WITH YOUR OWN SOUNDS Record short sound samples, label them, and Graphony renders an audio version of the piece using those recordings. Each sound carries its own reference pitch, dynamics, articulation, and effects, so the realization reflects your own sonic material rather than a generic synthesizer. FOR EXPERIMENTAL PRACTICE - Absolute pitch contour: the pitch graph maps to a real concert-pitch register, so the notation means what it says. - Microtonal quarter-tones, chromatic-stepped glissandi, and detected chords notated on a single stem. - A palette of per-sound effects: glissando, scratch, harmonic distortion, reverse, inverted pitch, and granular fragment. - "Notate as C" writes a sound's notes on a single placeholder middle C, so you can set their pitches by hand later. - Sound roles (sustainer, punctuator, doubler, texture) are distinguished by notehead. PRIVATE BY DESIGN Everything stays on your device. Graphony has no accounts, no ads, and collects no data. Your graphs, recordings, scores, and audio never leave your iPhone or iPad unless you choose to share them. Graphony is built to get an experimental idea out of your head and onto the page quickly: design it as graphs, hear it in your own sounds, and carry the score into your notation software to finish.

midi-sink models a tray of water with ink floating on it. Every gesture is an exact, area-preserving transformation of the whole sheet — Aubrey Jaffer's mathematical marbling — so the rings stay crisp after a thousand strokes. Two modes. MARBLE MODE is the tray under your hands: tap for a drop, drag to comb, twist two fingers for a vortex, pinch to fold, draw with the Pencil and a wake follows the tip. Plug in a MIDI instrument and it plays into the same water: an MPE controller's strike, pressure, glide and slide become drop, feed, comb and hue; a wind controller draws a single calligraphic line; any keyboard plays drops on the circle of fifths. PLAY MODE turns the iPad into an MPE instrument. A pitch lattice — chromatic grid, Jankó or piano grid — sits under your fingers; every touch is a joystick (sideways bends in semitones, push to feed ink, pull back to stir). The Apple Pencil plays legato across the keys with real force as velocity, its barrel roll deepens vibrato and the Pencil Pro's squeeze is the sustain pedal. A floating strip carries pitch, mod, two assignable wheels and sustain on the MPE master channel. The stream goes out over a virtual CoreMIDI source (also to a USB-tethered Mac), the MIDI network session and Bluetooth LE MIDI, so any DAW or synth records a standard MPE performance while the water paints it. Made for MPE controllers — ROLI Piano and Seaboard, Expressive E Osmose — the ROLI Airwave's gesture CCs, wind controllers (Roland Aerophone, Odisei Travel Sax) and classic keyboards. midi-sink makes no sound of its own: it is a visualizer and a controller. Free software (AGPL-3.0). Collects nothing.