And then there's the concept of harmonic collision, which would be cool to analyze: two different inputs from some input type with different entropy parameters resulting in the same chord progression.

This makes it frustrating to have a productive discussion about election security. There's no simple narrative. Yes, there are security vulnerabilities in some election systems, and that's genuinely bad. But no, there's no evidence any US elections have been stolen or rigged this way (so far).

And this captures the true intent of lambrOS, harnessing the entropy of real-world signals and human creativity in a way that produces shapeable, repeatable, and intentional musical compositions. It's the ability to temper the dissonance of unpredictability in an aurally palatable manner. (8/8)

This kind of analysis helps form proofs around lambrOS' ability to adhere to the rules we set in our YAML config, like, "gravitate towards E Mixolydian, but allow some % of inter-modal play with E Dorian and A Lydian." Entropy dials can create a little or a lot of movement within those bounds. (7/7)

That's good reinforcement for the applicable semantic HFF property. And then there's the Harmonic Inference Problem (HIP), which is kind of the Bayesian inverse of HFF. If HFF is “given data → produce harmony”, then HIP is “given harmony → infer what parameters produced it”. (6/6)

There's also the more cryptographic kind of HFF, which can take input directly from a PRF and reduce its "soundness" back to the indistinguishability of the PRF. No efficient observer can tell whether the sequence came from random or from lambrOS, within a tonal boundary. (5/5)

This is a kind of semantic HFF, where consistency (similar inputs/fixed params/similar outputs) or indistinguishability (due to dynamic parameters) is provable. It provides bounds around entropy's influence and preserves lambrOS' ability to allow controlled shaping rather than random garble. (4/4)

The more we toggle the entropy dials, the less distinguishable two similar inputs, or even the same input with different parameters, become. We get closer to the indistinguishability found in cryptographic PRFs, and can even make a similar reduction for HFF (Harmonic Function Families). (3/3)

Beyond that, we also want consistency; in other words, similar inputs with identical parameters should yield similar outputs. This implies maximum control by the dials; the dials are where the human shapes the outcome, and for a composer, this human control is central to lambrOS' design. (2/2)

This is a kind of semantic HFF, where consistency (similar inputs/fixed params/similar outputs) or indistinguishability (due to dynamic parameters) is provable. It provides bounds around entropy's influence and preserves lambrOS' ability to allow controlled shaping rather than random garble. (4/x)

And this captures the true intent of lambrOS, harnessing the entropy of real-world signals and human creativity in a way that produces shapeable, repeatable, and intentional musical compositions. It's the ability to temper the dissonance of unpredictability in an aurally palatable manner. (8/8)

There's also the more cryptographic kind of HFF, which can take input directly from a PRF and reduce its "soundness" back to the indistinguishability of the PRF. No efficient observer can tell whether the sequence came from random or from lambrOS, within a tonal boundary. (5/x)

The more we toggle the entropy dials, the less distinguishable two similar inputs, or even the same input with different parameters, become. We get closer to the indistinguishability found in cryptographic PRFs, and can even make a similar reduction for HFF (Harmonic Function Families). (3/x)

Beyond that, we also want consistency; in other words, similar inputs with identical parameters should yield similar outputs. This implies maximum control by the dials; the dials are where the human shapes the outcome, and for a composer, this human control is central to lambrOS' design. (2/x)

every sequence is mathematically-pressed (through lambrOS) and human-dialed by me. lambrOS is an audio composition environment that takes real-world signals and interprets them as chord progressions — built on ideas from cryptographic design, probability theory, and music theory.

every sequence is mathematically-pressed through lambrOS and human-dialed by me. lambrOS is an audio composition environment that takes real-world signals and interprets them as chord progressions — built on ideas from cryptographic design, probability theory, and music theory.

and I have proofs

Together, they form a loop between security and sound. A cipher generates pseudorandom output. lambrOS renders it audibly. HIP studies what that harmony reveals about its origin.

Workshops and performances coming to Oakland + San Francisco in 2026. (6/6)