# Pulse Loom Field Notes

Pulse Loom was revised after a listening critique: the first version produced mathematically interesting interlocks, but many of them did not sit like music.

## Research Translation

- Keep Euclidean spacing, but do not let evenness alone choose the winner.
- Prefer simple cross-rhythm ratios that rejoin at a clear cycle boundary.
- Make a ground pulse audible before asking the listener to track the cross-pulse.
- Use guide patterns such as clave, tresillo, and standard bell as phrasing references.
- Use restrained density, accents, swing, and timbre so the result feels like a loop instead of a metronome test.

## Research Sources

- [Godfried Toussaint, The Euclidean Algorithm Generates Traditional Musical Rhythms](https://cgm.cs.mcgill.ca/~godfried/publications/banff.pdf): Keep Euclidean spacing, but avoid treating maximum evenness as the whole musical goal.
- [Euclidean rhythm overview](https://en.wikipedia.org/wiki/Euclidean_rhythm): Euclidean rhythms distribute pulses as evenly as possible across a cycle.
- [Clave rhythm overview](https://en.wikipedia.org/wiki/Clave_%28rhythm%29): Use clave-like guide patterns as a phrasing reference, not only as decorative hits.
- [Bell pattern overview](https://en.wikipedia.org/wiki/Bell_pattern): Standard bell patterns act as timelines or guide patterns over a repeating cycle.
- [Cross-beat and 3:2 relationship](https://en.wikipedia.org/wiki/Cross-beat): Keep the primary beat scheme audible while secondary cross-beats create tension.

## Top Result

The top ranked loom is `pl-04-05`, **Bossa Tresillo Laid Back**, a 3-3-4-3-3 pattern in the Guide pattern group.

| Voice | Pattern | Pulses | Steps |
| --- | --- | ---: | ---: |
| Ground | `x...x...x...x...` | 4 | 16 |
| Guide | `x..x..x...x..x..` | 5 | 16 |
| Counter | `x....x.....x..x.` | 4 | 16 |

## Top Twelve

| Rank | Loom | Ratio | Groove | Meet | Ground | Guide |
| ---: | --- | --- | ---: | ---: | ---: | ---: |
| 1 | Bossa Tresillo Laid Back | 3-3-4-3-3 | 0.8992 | 1.0000 | 1.0000 | 1.0000 |
| 2 | Bossa Tresillo Sparse Cross | 3-3-4-3-3 | 0.8989 | 1.0000 | 1.0000 | 1.0000 |
| 3 | Son Clave Frame Sparse Cross | 3-2 clave | 0.8986 | 1.0000 | 1.0000 | 1.0000 |
| 4 | Four Over Three Lilt Sparse Cross | 4:3 | 0.8969 | 1.0000 | 1.0000 | 1.0000 |
| 5 | Bossa Tresillo Pocket | 3-3-4-3-3 | 0.8899 | 1.0000 | 1.0000 | 1.0000 |
| 6 | Son Clave Frame Pocket | 3-2 clave | 0.8897 | 1.0000 | 1.0000 | 1.0000 |
| 7 | Four Over Three Lilt Pocket | 4:3 | 0.8894 | 1.0000 | 1.0000 | 1.0000 |
| 8 | Five Over Four Slow Pickup | 5:4 | 0.8889 | 1.0000 | 1.0000 | 1.0000 |
| 9 | Five Over Four Slow Pocket | 5:4 | 0.8833 | 1.0000 | 1.0000 | 1.0000 |
| 10 | Five Over Four Slow Bell Lead | 5:4 | 0.8833 | 1.0000 | 1.0000 | 1.0000 |
| 11 | Bossa Tresillo Turnaround | 3-3-4-3-3 | 0.8812 | 1.0000 | 1.0000 | 1.0000 |
| 12 | Four Over Three Lilt Answer | 4:3 | 0.8788 | 1.0000 | 1.0000 | 1.0000 |

## Interpretation

The revised top patterns are less surprising on paper and more usable as loops. The score now rewards audible orientation: shared downbeats, a clear ground voice, guide-pattern fit, moderate density, and enough alternation to keep the three parts distinct.

The playback surface now has a single transport. Starting a new pattern stops the previous one, and every pattern can loop with tempo, swing, and sound-kit controls.