A musicality pass on generated polyrhythms: short cycles, audible ground pulses, clave and bell guide patterns, softer sound design, and one transport that cannot stack playback sessions.
Start any pattern below, then shape the active loop here.
The old sweep rewarded busy interlocks. This version starts with ratios and timelines that players actually use: 3:2, 4:3, 5:4, clave, tresillo, and standard bell shapes. Every pattern returns to a shared downbeat.
Read the generated field notes, inspect summary.json, or download rhythms.csv.
3-3-4-3-3 / 94 bpm / Ground 4 / Guide 5 / Counter 4
The guide pattern has an asymmetric hook while the ground and counter keep the bar easy to locate.
3-3-4-3-3 / 98 bpm / Ground 4 / Guide 5 / Counter 4
The guide pattern has an asymmetric hook while the ground and counter keep the bar easy to locate.
3-2 clave / 94 bpm / Ground 4 / Guide 5 / Counter 4
The foundation keeps four clear beats while the guide pattern creates a familiar long-short asymmetry.
4:3 / 88 bpm / Ground 3 / Guide 5 / Counter 3
The counter gives the 4:3 tension, but the foundation makes the three-beat lilt explicit.
3-3-4-3-3 / 100 bpm / Ground 4 / Guide 5 / Counter 5
The guide pattern has an asymmetric hook while the ground and counter keep the bar easy to locate.
3-2 clave / 96 bpm / Ground 4 / Guide 5 / Counter 5
The foundation keeps four clear beats while the guide pattern creates a familiar long-short asymmetry.
4:3 / 90 bpm / Ground 3 / Guide 5 / Counter 4
The counter gives the 4:3 tension, but the foundation makes the three-beat lilt explicit.
5:4 / 86 bpm / Ground 5 / Guide 6 / Counter 6
The five-side is slowed down and softened so the listener can still feel the four-beat frame.
5:4 / 82 bpm / Ground 4 / Guide 6 / Counter 5
The five-side is slowed down and softened so the listener can still feel the four-beat frame.
5:4 / 85 bpm / Ground 4 / Guide 6 / Counter 5
The five-side is slowed down and softened so the listener can still feel the four-beat frame.
3-3-4-3-3 / 105 bpm / Ground 5 / Guide 5 / Counter 6
The guide pattern has an asymmetric hook while the ground and counter keep the bar easy to locate.
4:3 / 92 bpm / Ground 3 / Guide 5 / Counter 5
The counter gives the 4:3 tension, but the foundation makes the three-beat lilt explicit.
4:3 / 86 bpm / Ground 3 / Guide 4 / Counter 3
The counter gives the 4:3 tension, but the foundation makes the three-beat lilt explicit.
4:3 / 95 bpm / Ground 4 / Guide 5 / Counter 4
The counter gives the 4:3 tension, but the foundation makes the three-beat lilt explicit.
3-3-4-3-3 / 104 bpm / Ground 5 / Guide 5 / Counter 6
The guide pattern has an asymmetric hook while the ground and counter keep the bar easy to locate.
3-2 clave / 100 bpm / Ground 5 / Guide 5 / Counter 6
The foundation keeps four clear beats while the guide pattern creates a familiar long-short asymmetry.
3-2 clave / 101 bpm / Ground 5 / Guide 5 / Counter 6
The foundation keeps four clear beats while the guide pattern creates a familiar long-short asymmetry.
4:3 / 94 bpm / Ground 4 / Guide 5 / Counter 5
The counter gives the 4:3 tension, but the foundation makes the three-beat lilt explicit.
5:4 / 80 bpm / Ground 4 / Guide 6 / Counter 4
The five-side is slowed down and softened so the listener can still feel the four-beat frame.
5:4 / 87 bpm / Ground 5 / Guide 7 / Counter 5
The five-side is slowed down and softened so the listener can still feel the four-beat frame.
2-bar 3-2 / 108 bpm / Ground 9 / Guide 5 / Counter 8
A longer cycle lets the pattern breathe, while the ground voice keeps the barline impossible to lose.
5:4 / 84 bpm / Ground 4 / Guide 7 / Counter 5
The five-side is slowed down and softened so the listener can still feel the four-beat frame.
3-2 clave / 92 bpm / Ground 4 / Guide 4 / Counter 4
The foundation keeps four clear beats while the guide pattern creates a familiar long-short asymmetry.
3-3-4-3-3 / 96 bpm / Ground 4 / Guide 4 / Counter 4
The guide pattern has an asymmetric hook while the ground and counter keep the bar easy to locate.
3-3-4-3-3 / 103 bpm / Ground 4 / Guide 6 / Counter 5
The guide pattern has an asymmetric hook while the ground and counter keep the bar easy to locate.
3-2 clave / 99 bpm / Ground 4 / Guide 6 / Counter 5
The foundation keeps four clear beats while the guide pattern creates a familiar long-short asymmetry.
3-2 clave / 90 bpm / Ground 4 / Guide 6 / Counter 4
The foundation keeps four clear beats while the guide pattern creates a familiar long-short asymmetry.
5:4 / 76 bpm / Ground 4 / Guide 7 / Counter 4
The five-side is slowed down and softened so the listener can still feel the four-beat frame.
4:3 / 84 bpm / Ground 3 / Guide 6 / Counter 3
The counter gives the 4:3 tension, but the foundation makes the three-beat lilt explicit.
3-3-4-3-3 / 102 bpm / Ground 4 / Guide 6 / Counter 6
The guide pattern has an asymmetric hook while the ground and counter keep the bar easy to locate.
3-2 clave / 98 bpm / Ground 4 / Guide 6 / Counter 6
The foundation keeps four clear beats while the guide pattern creates a familiar long-short asymmetry.
12-pulse bell / 96 bpm / Ground 4 / Guide 7 / Counter 2
The bell timeline supplies syncopation, but the ground voice still marks the four-beat cycle.
2-bar 3-2 / 104 bpm / Ground 8 / Guide 5 / Counter 7
A longer cycle lets the pattern breathe, while the ground voice keeps the barline impossible to lose.
4:3 / 93 bpm / Ground 3 / Guide 6 / Counter 4
The counter gives the 4:3 tension, but the foundation makes the three-beat lilt explicit.
12-pulse bell / 94 bpm / Ground 4 / Guide 6 / Counter 2
The bell timeline supplies syncopation, but the ground voice still marks the four-beat cycle.
12-pulse bell / 98 bpm / Ground 4 / Guide 7 / Counter 3
The bell timeline supplies syncopation, but the ground voice still marks the four-beat cycle.
12-pulse bell / 100 bpm / Ground 4 / Guide 7 / Counter 3
The bell timeline supplies syncopation, but the ground voice still marks the four-beat cycle.
2-bar 3-2 / 102 bpm / Ground 8 / Guide 5 / Counter 6
A longer cycle lets the pattern breathe, while the ground voice keeps the barline impossible to lose.
5:4 / 78 bpm / Ground 4 / Guide 5 / Counter 4
The five-side is slowed down and softened so the listener can still feel the four-beat frame.
2-bar 3-2 / 109 bpm / Ground 9 / Guide 6 / Counter 8
A longer cycle lets the pattern breathe, while the ground voice keeps the barline impossible to lose.
12-pulse bell / 102 bpm / Ground 5 / Guide 7 / Counter 4
The bell timeline supplies syncopation, but the ground voice still marks the four-beat cycle.
12-pulse bell / 103 bpm / Ground 5 / Guide 7 / Counter 4
The bell timeline supplies syncopation, but the ground voice still marks the four-beat cycle.
2-bar 3-2 / 106 bpm / Ground 8 / Guide 6 / Counter 7
A longer cycle lets the pattern breathe, while the ground voice keeps the barline impossible to lose.
2-bar 3-2 / 107 bpm / Ground 8 / Guide 6 / Counter 7
A longer cycle lets the pattern breathe, while the ground voice keeps the barline impossible to lose.
2-bar 3-2 / 98 bpm / Ground 8 / Guide 6 / Counter 6
A longer cycle lets the pattern breathe, while the ground voice keeps the barline impossible to lose.
12-pulse bell / 101 bpm / Ground 4 / Guide 8 / Counter 3
The bell timeline supplies syncopation, but the ground voice still marks the four-beat cycle.
12-pulse bell / 92 bpm / Ground 4 / Guide 8 / Counter 2
The bell timeline supplies syncopation, but the ground voice still marks the four-beat cycle.
2-bar 3-2 / 100 bpm / Ground 8 / Guide 4 / Counter 6
A longer cycle lets the pattern breathe, while the ground voice keeps the barline impossible to lose.
3:2 / 92 bpm / Ground 2 / Guide 5 / Counter 3
The ground voice marks the two-beat span, the counter divides the same span into three, and the guide gives the ear a repeating phrase shape.
3:2 / 95 bpm / Ground 2 / Guide 5 / Counter 3
The ground voice marks the two-beat span, the counter divides the same span into three, and the guide gives the ear a repeating phrase shape.
3:2 / 86 bpm / Ground 2 / Guide 5 / Counter 2
The ground voice marks the two-beat span, the counter divides the same span into three, and the guide gives the ear a repeating phrase shape.
3:2 / 90 bpm / Ground 2 / Guide 5 / Counter 2
The ground voice marks the two-beat span, the counter divides the same span into three, and the guide gives the ear a repeating phrase shape.
3:2 / 96 bpm / Ground 3 / Guide 5 / Counter 4
The ground voice marks the two-beat span, the counter divides the same span into three, and the guide gives the ear a repeating phrase shape.
3:2 answer / 86 bpm / Ground 2 / Guide 5 / Counter 3
A delayed answer gives the cross-rhythm a phrase instead of turning it into a constant stream.
3:2 answer / 88 bpm / Ground 2 / Guide 5 / Counter 4
A delayed answer gives the cross-rhythm a phrase instead of turning it into a constant stream.
3:2 answer / 93 bpm / Ground 3 / Guide 5 / Counter 4
A delayed answer gives the cross-rhythm a phrase instead of turning it into a constant stream.
3:2 answer / 92 bpm / Ground 3 / Guide 5 / Counter 5
A delayed answer gives the cross-rhythm a phrase instead of turning it into a constant stream.
3:2 / 94 bpm / Ground 2 / Guide 6 / Counter 3
The ground voice marks the two-beat span, the counter divides the same span into three, and the guide gives the ear a repeating phrase shape.
3:2 answer / 82 bpm / Ground 2 / Guide 6 / Counter 3
A delayed answer gives the cross-rhythm a phrase instead of turning it into a constant stream.
3:2 answer / 84 bpm / Ground 2 / Guide 4 / Counter 3
A delayed answer gives the cross-rhythm a phrase instead of turning it into a constant stream.
3:2 / 97 bpm / Ground 3 / Guide 6 / Counter 4
The ground voice marks the two-beat span, the counter divides the same span into three, and the guide gives the ear a repeating phrase shape.
3:2 / 88 bpm / Ground 2 / Guide 4 / Counter 2
The ground voice marks the two-beat span, the counter divides the same span into three, and the guide gives the ear a repeating phrase shape.
3:2 answer / 91 bpm / Ground 2 / Guide 6 / Counter 4
A delayed answer gives the cross-rhythm a phrase instead of turning it into a constant stream.
3:2 answer / 90 bpm / Ground 2 / Guide 6 / Counter 4
A delayed answer gives the cross-rhythm a phrase instead of turning it into a constant stream.