Justin Troutman

but can there really be too much Power in the Point (c. 2021)

no cap

proud to announce my boldest challenge yet...

...cabin leader, 3-day 5th grade camping trip.

676767676767676767676767676767676767676767676767676767676767skibidi

shohei, good lord

baseball, man

You could also frame lambrOS as a musical version of cryptography's PRF, where you have absolute control over consonance and dissonance in a provable way. Although not the primary goal of lambrOS, you *could* use this as a MAC that's playable as music. digisigs.mp3 ftw.

Cryptography's output is inherently "dissonant," which presented a curious problem -- how do we take one of cryptography's most nonlinear components and repurpose it for musical output that depends on the ability to throttle dissonance and ensure consonance for palatable playback? Shapeshift. (7/7)

and confined to the admissible set---serve as a controllable source of surprise and expressive variation: they let the system gesture toward the spontaneity of free jazz, at will, while preserving consonance and reproducibility (under fixed parameters and seed). (6/7)

using temperature $\beta$, with an optional tension budget $B_t$; all randomness is applied after constraint projection and remains semitone-safe. Bounded injections of entropy and unpredictability---mediated by $(\beta,\delta,B_t)$ (5/7)

and conjecture that greedy selection yields near-optimal, non-crossing progressions. For controlled unpredictability without losing consonance, we sample within a near-optimal band \mathcal{V}_\delta = \bigl{, v : D(v^{-},v) \le D(v^{-},v^\star) + \delta ,\bigr} (4/7)

respects interval schemas (e.g., triads or quartal), and minimizes a voice-leading cost. We model pitch classes on $\mathbb{Z}_{12}$, prove soundness and transposition equivariance, show bounded movement under these constraints, (3/7)

Shapeshift is a fixed S-box-inspired mapping that turns symbolic harmony requests into concrete voicings. Given a mode and the previous chord, it returns a consonant choice that is semitone-safe (notes confined to a register window; adjacent tones $\geq g$ semitones), (2/7)

Here’s a bit about “shapeshift,” a chord-shaping component of lambrOS, a musical engine for turning real-world signals into musical structure; it’s built around concepts from cryptographic design, probability theory, and music theory. (1/7)

lambrOS '26 will now have microtonal support because Maddie Ashman boggles the mind and bends the ears so brilliantly.

let’s go blue jays

Time to get some gear and plan a trip to the Tuolumne. (8/8)

Musically, the sketch is centered in Db major, with Lydian coloring and Phrygian inflections to reflect the stillness, drift, tension, and surprise of the battle. The working title is Fight! of the Steelhead. (7/8)

After that, I’ll probably tinker on a patch that live streams into a Teenage Engineering device so the ritual can literally play itself in real time. And then, it's time to plan lambrOS' first release. Probably before GTA VI. (6/8)

Right now, the audio is simulated based on rough mapping from video — but the next step is live instrumentation. I’m wiring an Arduino-based sensor kit to a tenkara rod and working with actual tenkara anglers to feed motion data directly into the engine. (5/8)

Each stage of the fishing sequence runs through a number of functions, including:

* Markov chains to model transition behavior
* Lookup tables to keep harmony semitone-safe
* A dissonance filter that controls when tension builds and resolves
* YAML-config'd dials for entropy

(4/8)

(If you saw my earlier post about midrangeOS, that now lives inside lambrOS as one adapter, focused on taking basketball play sequences as input. lambrOS is also a nod to Lambros Callimahos, the codebreaking flutist of lore.) (3/8)

I built a prototype using lambrOS, the operating system I’m developing to turn real-world signals into musical structure; it’s built around concepts from cryptographic design, probability theory, and music theory. (2/8)

After watching South2 West8’s Tenkara Session, I couldn’t stop thinking: What if the ritual of fishing, from cast → drift → bite → hook set → fight → release, could be translated directly into music? (tenkara = a type of simple rod angling traditionally practiced in Japan) (1/8; music at 8/8)

Also working on [codenamed] lambrOS, which is a more expansive engine that collapses midrangeOS' functionality into a plug-and-play adaptor; this allows for custom, swappable adaptors that handle input according to entirely different rulesets, such that nothing is hardcoded into the primary system.

And the 20-second snippet, which is one of countless permutations using random seeding and multiple, distinct knob positions: soundcloud.com/basslinejump... (4/4)

Knobs control how the engine chooses the next note or chord, which voicings it favors, and the velocity and duration of each note. The result is output driven by probability theory and informed by cryptographic design. Affectionately, I call this experiment Portrait of Tracy McGrady. (3/4)

Those weights feed midrangeOS’s Markov engine to produce musical “events” (notes and chords). Each event is mapped to MIDI by the YAML config: the pitch set is limited to the allowed notes from Jaco Pastorius’ Portrait of Tracy. (2/4)

Here's a synthy snippet of raw MIDI that works like this: midrangeOS took in data from T-Mac’s 13 points in the final 35 seconds of the Rockets vs. Spurs game on 12/9/04. Every play — pass, shot, rebound — is assigned a weighted numerical value. (1/4)

YouTube video by The Tomorrow Beckons Andre Agassi Interview | Beat Boris Becker By Observing His Tongue

I first learned about how Agassi read Becker's serve in Agassi's autobiography, which is an incredible book.

This is amazing information warfare. Exact parallel to Bletchley Park breaking the Enigma machine.

youtu.be/ja6HeLB3kwY?...

In my 40s, making pancakes for my kids, listening to Cocteau Twins, after performing Wheatus' Teenage Dirtbag with my wife last night. 16yo me couldn't have prognosticated this level of cool.