I'm playing with the idea of complex feedback loops. The sound at https://soundcloud.com/john-allsup/beefythedeadcowsaysmoo was produced by wiring the output of my UCA202 through a MonotronDuo back into the input and inserting basic EQ, compression and limiting into the feedback path. (A PCM recording of an electronic drumbeat was used to seed the feedback path for part of the recording so one can hear the effect of driving the loop and just letting it resonate.) Most of the heavy code could be replaced with trivial DSP and still produce interesting 'dubsteppy' sounds and 'seventies scifi' effects. I am wondering just how small one could code a high quality music demo if DSP was brought 'back to basics' and just done using a few channels plus basic delays with gain.
Welcome to the forums.
It certainly sounds complicated - I have a degree in electronic engineering, and I don't quite understand some of your post.
I can't wait to hear the finish sound though, if my understanding of most of it is correct.
Feedback is central to much of DSP (the exception being feed-forward filters). If you recursively feed the output of a process back into its input, possibly with modification, much complexity is possible. This is, of course, the mindset behind maths results such as Cantor's diagonalisation and Turing's result on the halting problem (this latter one theoretical stuff from the early twentieth century that laid the foundations for modern computation). I'm wondering about using clever recursive feedback tricks to generate interesting music for demos without using much code or having too much precomputed data.
(My academic background was the crazy end of maths: things like model theory and especially nonstandard models, so I tend to live outside the box of normality rather than occasionally think there, so I often have a hard time expressing what I think would be interesting.)
I've kind of wandered off this idea for a while, but it keeps coming back to me, so I will most likely revisit it at some point.