List type 0

The data fed through this patch is grouped into sets of four. The last number in the list will be duplicated to fill out the last group if the list is not able to be evenly divided. For the first exon the data now looks like this:

63 46 47 31;
60 63 36 59;
17 31 22 20;
22 21 22 34;
54 46 50 64;
58 38 27 22;
62 18 59 62;
50 16 17 55;
29 32 47 24;
64 30 60 16;
20 64 63 48;
63 57 52 54;
34 64 29 31;
45 46 36 64;
13 64 50 08;
04 64 42 44;
52 10 52 06;
56 29 24 17;
26 21 24 52;
56 50 21 08;
29 32 01 06;
48 48 30 37;
07 22 48 55;
34 21 37 17;
31 62 53 06;
16 46 22 01;
18 22 17 54;
06 31 18 55;
29 50 17 14;
22 21 60 59;
30 30 30 30;

Each group becomes one note with the first number determining pitch and the other three determining timbre. The patch shown on the right above is a basic Frequency Modulation (FM) synthesizer where the second and third numbers determine the amount of modulation applied to the note. This way, each note has a different sound—the amount of difference can be subtle though.

The fourth number selects an envelope shape for the modulation. The envelope acts as a volume controller that determines how much of the modulated sound gets mixed with the pure tone, making the sound dynamic rather than static. In the main patch (shown on the left above) the last three numbers in the groups also determine the overall amplitude envelope shape for the sound, choosing from sets of attack, sustain, and release shapes (I have chosen to include decay in the attack and sustain shapes). The process of choosing an envelope shape in all cases is determined by the amino acid that each codon represents (allowing for fewer total envelope shapes).