Strudel Compose

Genre keywords:

• "techno" → 4-on-the-floor kick, 126–140 BPM, hi-hats, synth stabs, acid basslines
• "house" → 120–130 BPM, offbeat hi-hats, chord stabs, soulful samples
• "drum and bass" / "dnb" → 160–180 BPM, breakbeats, deep sub-bass, amen breaks
• "hip-hop" / "boom bap" → 80–100 BPM, heavy kick-snare, vinyl samples, jazzy chords
• "trap" → 130–150 BPM (half-time feel), rapid hi-hats, 808 bass, snare rolls
• "IDM" / "braindance" → irregular rhythms, complex polyrhythms, granular textures
• "dub" → heavy reverb and delay, sparse rhythms, deep bass, rimshots
• "jazz" → swing, complex chords (7ths, 9ths), walking bass, brushes
• "classical" / "orchestral" → soundfont instruments, legato, dynamic variation

Structural keywords:

• "simple" / "minimal" → 1–2 layers, basic rhythm, limited effects
• "complex" / "layered" / "rich" → 4+ layers, multiple effects chains, variation over time
• "evolving" / "generative" → use sometimes, every, degrade, rand, conditional transforms
• "building" / "crescendo" → use every to add elements progressively

If the request is ambiguous, make a reasonable artistic choice and note what you chose and why.

Phase 2 — Look up everything

This is mandatory. Never skip lookups.

All reference data lives in the data/ directory as compact JSONL files (one JSON object per line), optimized for Grep lookups.

Step 2a — Learn the constraints (do this first)

Consult these files before composing — they define the rules your code must follow:

• data/anti-patterns.jsonl — common mistakes to avoid during composition
• data/mini-notation.jsonl — syntax reference for pattern strings

Internalize these before composing. This prevents anti-pattern violations from being introduced in the first place.

Step 2b — Search for relevant idioms and snippets

Check if established patterns already cover what the user wants:

1. Semantic map: Grep for the user's key terms in data/semantic-map.jsonl. This maps musical concepts to relevant functions, idioms, sounds, and anti-patterns — giving you a roadmap for all subsequent lookups.
2. Idioms: Grep data/idioms.jsonl for matching tags or categories (e.g., "tags" containing "acid", or "cat":"rhythm"). If a relevant idiom exists, read its code field to understand the recommended approach, and note its functions field to know which functions to look up next.
3. Snippets: Grep data/snippets.jsonl for matching tags (e.g., "trance", "ambient"). If a relevant snippet exists, read the actual snippet file from snippets/ for reusable techniques.

Step 2c — Look up sounds

Grep for sound names in data/sounds.jsonl. If a sound doesn't exist, find an alternative that does.

Step 2d — Look up functions

For every function you plan to use, Grep for "name":"<fn>" in data/functions.jsonl. Verify parameter signatures, check for aliases, and review examples.

For category browsing, use data/functions-index.jsonl first — it has just function names grouped by category, without the full descriptions. Then look up specific functions you need.

To browse a full category, Grep for "cat":"<Category>" in data/functions.jsonl.

Step 2e — Cross-reference idiom functions

If you found relevant idioms in Step 2b, look up each function listed in the idiom's functions field. This ensures you understand the exact API of every function the idiom demonstrates.

Last resort — Strudel source code

Only consult the Strudel source tree when the data files above don't answer the question. Check the STRUDEL_SRC environment variable for the source path. If it is not set, ask the user.

Phase 3 — Compose the code

Write the Strudel snippet following these principles:

• Live-performance friendly by default. Structure code so performers can easily modify it during a set. Put tweakable parameters (tempo, filter cutoff, gain values) in clearly named variables at the top.
• Musicality first. The code should sound good, not just be technically correct. Consider dynamics, space, and groove.
• Idiomatic Strudel. Use mini-notation where it's concise. Use method chaining naturally. Prefer concise mini-notation operators over spelling out repetitions. The replicate operator (written as an exclamation mark after an element, e.g. "bd" followed by exclamation mark and "4") is better than writing "bd bd bd bd". Likewise "hh*8" is better than writing hh eight times, and "A" with exclamation mark "2" is better than "A A". Use "@" for duration weighting and the exclamation mark operator for replication wherever they reduce verbosity.
• Aggressively simplify repeated groups. Always scan mini-notation strings for repeated subsequences and factor them out using group replication — wrap the repeating group in square brackets and apply the replicate operator. For example, "~ cp ~ cp" should be written as "[~ cp]" followed by exclamation mark "2"; "bd sd bd sd" becomes "[bd sd]" followed by exclamation mark "2"; and inside angle brackets, "<Am Am C C>" becomes "<Am" followed by exclamation mark "2 C" followed by exclamation mark "2>". This applies at any nesting level and combines with other operators — e.g. "[bd sd]" followed by exclamation mark "2" then "*2" would double-speed the replicated group. Correctness guard: only factor out groups that are truly identical step-for-step. "bd ~ sd ~" must stay as-is because the two halves differ (bd vs sd). Always mentally expand the simplified pattern and verify it matches the original before using it.
• Use named reactive statements for layering. Give each layer a descriptive name using $NAME: pattern syntax (e.g., $KICK: s("bd*4")). Each named statement is an independent pattern that plays simultaneously and can be individually muted, tweaked, or reordered during a live set.
• Relative pitch preferred. Use scale degrees with n() + .scale() instead of absolute note names with note(). This makes patterns easier to transpose, reuse, and reason about musically. Reserve note() for cases where absolute pitch is essential (e.g., specific bass notes, exact melodic transcriptions, or when no scale context applies). When building chords with scale degrees, use stacked values: n("[0,2,4]").scale("C4:minor").
• Extract shared values into variables. Use const for values shared across layers (scales, drum bank names, tempos). Single-use literals that are self-explanatory (e.g., a gain value) can stay inline. Important: Variables holding strings can only be used as function arguments (e.g., .scale(myScale), .bank(myDrums)). They CANNOT be interpolated into mini-notation strings — Strudel mini-notation is parsed at runtime from plain strings, not template literals. Never use backtick template strings with ${} to build mini-notation. If you need to combine sections, write them out in the string directly. Example:

  const scale = "C4:minor"
  const bpm = 140
  const drums = "RolandTR909"
  setcpm(bpm/4)
  // four-on-the-floor kick
  $KICK: s("bd*4").bank(drums).gain(0.9)
  // clap on beats 2 and 4 (group replication: [~ cp]!2 not ~ cp ~ cp)
  $CLAP: s("[~ cp]!2").bank(drums).gain(0.7)
  // 8th-note hi-hats
  $HATS: s("hh*8").bank(drums).gain(0.4)
  // minor scale melody
  $MELODY: n("0 2 4 7").scale(scale).s("piano")
  // bass following root movement
  $BASS: n("0!2 3 4").scale(scale).s("sawtooth")
  // chord pad with auto-voicing
  $PADS: chord("<Am C F G>").voicing().s("supersaw")
  

• Annotate with comments. Add a short comment above each distinct musical section or layer to describe its role (e.g., "// acid bassline with filter sweep", "// clap on beats 2 and 4"). Also annotate non-obvious rhythm or gain patterns (e.g., "// gain per beat: downbeat / ghost / and / ghost"). Skip comments for self-evident lines like setting BPM or declaring scale names.
• Appropriate complexity. Match the complexity to the request. A "simple beat" should be a few lines. A "full track" should have multiple layers with effects.
• Tempo. Always set tempo explicitly with setcpm() when the piece has a specific BPM feel. Remember: setcpm(BPM / 4) for 4/4 time.

Phase 4 — Verify and fix

Before showing the code, run through this checklist.

Correctness checks:

• Every sound name exists in data/sounds.jsonl
• Every function name exists in data/functions.jsonl
• Mini-notation syntax is correct per data/mini-notation.jsonl
• Method chains are valid (pattern methods return patterns)
• The musical result matches the user's intent

Anti-pattern scan: Verify your code against data/anti-patterns.jsonl (consulted in Phase 2a). Common violations:

• No verbose repetitions (~ ~ ~ ~ → ~!4, bd bd bd → bd!3)
• No string interpolation in mini-notation (no ${var} in pattern strings)
• No JS string methods on patterns (no .replace(), .slice())
• Tempo is correct: setcpm(BPM/4) for 4/4 time
• No calling pattern methods like .add() on pattern results instead of mini-notation strings
• No redundant function calls (s() and sound() are aliases — use one, not both)

Idiom alignment: If relevant idioms were found in Phase 2b:

• Does your code follow the idiom's recommended approach?
• Are you avoiding mistakes the idiom warns against (WRONG vs CORRECT examples)?
• For string operations, are you using single quotes only? (see string-concatenation idiom)

Fix strategy — tiered response:

• Structural issues (wrong musical approach, missing layers, incorrect function usage): return to Phase 3 and regenerate the code from scratch with the lessons learned. This produces cleaner, more coherent results than incremental fixes.
• Surface issues (verbose repetitions, missing replicate operators, comment adjustments): fix in place. These are mechanical and don't require rethinking the composition.

Phase 5 — Present the result

Provide:

1. A brief description of what the snippet does musically (2–3 sentences)
2. The code in a fenced code block
3. A short explanation of the key techniques used, so the user can learn and modify

Key reminders

• Prefer relative pitch: Use n("0 2 4").scale("C4:minor") over note("c4 eb4 g4"). Only use note() when absolute pitch is truly needed.
• n() with .scale() = scale degree (relative pitch). n() without .scale() = sample index. note() = absolute pitch (note name or MIDI number).
• Note name casing: Use lowercase for single notes (e.g., c3, eb4, f#2) and uppercase for chords (e.g., C, Cm, Cmaj7, F#m7). Only the root letter is capitalized in chords.
• s() and sound() are aliases.
• Use $NAME: pattern for layers. Each named reactive statement plays simultaneously and can be individually modified during a live set. Use const only for shared values (scales, drum banks, tempos), not for pattern layers.
• Tempo: setcpm(BPM / 4) for 4/4 time, or setcps(BPM / 4 / 60).
• Use concise mini-notation: the exclamation mark operator to replicate elements (e.g. bd followed by exclamation 4) and groups (e.g. [~ cp] followed by exclamation 2 instead of ~ cp ~ cp), the asterisk to subdivide (e.g. hh*8), and @ to elongate (e.g. d4@2). Never spell out repetitions longhand. Always verify that the expanded form of any simplification matches the original pattern.
• Mini-notation * and / apply to the preceding element only.
• No string interpolation in mini-notation. Never use backtick template literals with ${} to build pattern strings. Variables can only be passed as function arguments, not embedded inside mini-notation.
• Euclidean: "bd(3,8)" not "(3,8) bd".
• When in doubt, look it up. Never guess.