Фрактальная Бифуркация⁠⁠

На основе теорий Митчелла Фейгенбаума

генеративный промпт:

Instrumental (440 Hz A4, 65 dB, attack 10 ms, decay 1.5 s) with repeating 4-note chord cycles (C maj: C4-E4-G4, G maj: G3-B3-D4, A min: A3-C4-E4, F maj: F3-A3-C4; 1 s per chord, 4 s cycle, 120 BPM), soft resonant strings (cello, C2-G2, 80-120 Hz, 55 dB, vibrato 5 Hz, 0.5 semitone, glissando C2-D2 over 2 s). Clean 4/4 rhythm with quarter-note pulses (bass drum, 50-60 Hz, 60 dB, attack 10 ms, decay 200 ms) evolving into eighth-note patterns (hi-hats, 8-10 kHz, 50 dB, 8 per tact, 0.25 s) with accents every ~4.6692 notes (~1.1673 s), then sixteenth-note patterns (shaker, 12-14 kHz, 45 dB, 16 per tact, 0.125 s) with accents every ~0.58365 s, thirty-second notes (clicks, 15-18 kHz, 40 dB, 32 per tact, 0.0625 s) with accents every ~0.2918 s, and sixty-fourth notes (micro-clicks, 18-20 kHz, 35 dB, 0.03125 s) with accents every ~0.1459 s, inspired by chaos theory bifurcations. Polyrhythmic layers (3 vs 4: bongo triplets, 200-300 Hz, 0.1667 s; 5 vs 4: cowbell, 5-6 kHz, 0.1 s; 7 vs 4: tambourine, 10-12 kHz, 0.0714 s) and noise percussion (white noise, 0-20 kHz, 30 dB, random hits every 0.03-0.08 s). Transition to pulsing synths (sawtooth, 220-440 Hz, 60 dB, attack 20 ms, decay 0.5 s, arpeggio C4-E4-G4-A4, 0.25 s, 4.6692% pitch drift per 9.3384 s cycle, e.g., 440 Hz to 460.548 Hz), distorted guitars (A5-D5 power chords, 25% overdrive, 70 dB, attack 15 ms, odd accents), noise textures (white noise, 0-20 kHz, 40 dB, random bursts 0.05-0.1 s), and glitch sounds (1-5 kHz, 0.03-0.08 s, ±4.6692 semitone shift) entering at intervals of 9.3384 s, 2 s, 0.428 s, 0.0915 s. Reverb (15% wet, 2.5 s tail, 50 ms pre-delay, 200-10 kHz) at start, shifting to delay (250 ms, feedback 15% to 70% over 9.3384 s, then 100% over 0.428 s), then glitch (cuts 0.03-0.08 s), bitcrusher (16-bit to 4-bit over 0.428 s to 0.0915 s), randomized panning (0.1 Hz to 2.18 Hz over 9.3384 s to 0.428 s). Vocalise starts with melodic "ooo-aaa" chants (C4-E4, 1 s, 4 s intervals, 60 dB, attack 50 ms, decay 0.5 s, 4 phrases per 4 tact), evolving to "na-mi" phrases (C4-D4, 0.5 s, 8 per tact, 55 dB, second voice G3-A3, 0.25 s delay) over 9.3384 s, then "na-mi-nan-dus" textures (C4-C5, 0.2105 s, 19 per tact, 50 dB, third voice E3-F3, 0.1 s delay) over 2 s, then 89 phrases per tact (Bb3-Bb4, 0.0449 s, 45 dB, fourth voice C3-D3, 0.05 s delay) over 0.428 s, then 416 phrases per tact (A3-A5, 0.0096 s, random syllables "na/mi/dus") with reverse (50% wet, 1 s tail), pitch-shift (±4.6692 semitones, 0.1-0.5 Hz), multivoice (4-6 voices, 1-2 semitone intervals), and chaotic pitch-shift (±10 semitones, 1-2 Hz). Experimental electronic style, from clean minimalism to disharmonic, chaotic textures with harmonic shifts (C maj to A min over 9.3384 s, then C7#9, cluster chords C4-Db4-Eb4-F4, 0.5-1 semitone intervals, changes every 0.05-0.1 s, dynamics 60-80 dB).