41–50 of 67 posts
My Fable example is not nearly as cool but still (to me) impressive. Last year, I would occasionally test the latest models by vibe-coding in-browser music generators using only HTML, CSS, and JS. Here’s one made in July by Gemini: https://gally.net/temp/20250701synthesizer-gemini2/index.htm... And one made in September by Claude: https://gally.net/temp/20250917rhythmdrone/index.html With Fable, I was able to one-sho…
My Fable example is not nearly as cool but still (to me) impressive. Last year, I would occasionally test the latest models by vibe-coding in-browser music generators using only HTML, CSS, and JS. Here’s one made in July by Gemini: https://gally.net/temp/20250701synthesizer-gemini2/index.htm... And one made in September by Claude: https://gally.net/temp/20250917rhythmdrone/index.html With Fable, I was able to one-sho…
These are lovely. That the Fable one is one-shot is shocking.
“I want to ask Claude Code to write a browser-based synthesizer for me. Please prepare a prompt for it that I can give to it for it to write the synthesizer. The synthesizer should automatically create interesting polyphonic music in which the various voices play off against each other in both harmony and contrast. The controls will affect the tone, rhythmic patterns, number of voices, complexity and randomness of the melodies, and other features. The controlled features should be original—not just standard synthesizer functions—and encourage creative explorations even by naive users. So write a prompt that I can give to Claude Code to create that synthesizer.”
I then gave the prompt produced by Opus to Fable in Claude Code.
Earlier quoted context omitted.
That's great news. I was going to cancel my subscription because of the export restrictions.
Also, note, everyone assumed it was going to be limited to citizens, but that's not what the government said. They put it under ITAR/EAR's US person definition which includes citizens, permanent residents, refugees and asylees. Basically only visa holders in the US were banned, and of course, people in foreign countries. https://www.ecfr.gov/current/title-15/part-772/section-772.1...
I was not expecting the part where Fable produces a passable 3Blue1Brown-style explainer video of the algorithms it just implemented that sounds like it's narrated by a character from Dora the Explorer. What a strange era we now live in.
I actually had no idea Fable is able to generate videos from scratch like that. I guess it shouldn’t surprise me. But it never occurred to me.
This is amazing. One of the weaknesses of the video is that there are artifacts in the narration of passing through a text layer. "Bass" is pronounced as the fish at one point. "Wound" is pronounced as the injury. It's clear that these are homonyms of what was actually intended by the script.
It honestly makes my ears bleed. To me, it sounds like an extremely unintelligent person reading a teleprompter. Absolutely nothing going on between the ears.
> As we all know, the foundation of Western diatonic music theory is ¹²√2, the ratio between the frequencies of successive semitones. Nods knowingly. Yes, of course. I definitely know this.
As any reasonable person would.
> As we all know, the foundation of Western diatonic music theory is ¹²√2, the ratio between the frequencies of successive semitones. Nods knowingly. Yes, of course. I definitely know this.
In a nutshell: An octave (for example from a C to the next C) is a doubling in frequency. In the Western diatonic system, there are 12 notes per octave. (C, C#, D, D#, E, F, F#, G, G#, A, A#, B). Notes are "evenly spaced" within the octave - every note has the same ratio between its frequency and the frequency of the next note. Hence, that ratio is ¹²√2
> As we all know, the foundation of Western diatonic music theory is ¹²√2, the ratio between the frequencies of successive semitones. Nods knowingly. Yes, of course. I definitely know this.
In a nutshell: An octave (for example from a C to the next C) is a doubling in frequency. In the Western diatonic system, there are 12 notes per octave. (C, C#, D, D#, E, F, F#, G, G#, A, A#, B). Notes are "evenly spaced" within the octave - every note has the same ratio between its frequency and the frequency of the next note. Hence, that ratio is ¹²√2
On a piano you move up an octave by going up by 8 white keys, or 12 semitones (white and black keys). Going up by 4 semitones is called a "major third", which multiplies the frequency of the note by 5/4. If you do three major thirds you get an octave. However, notice that (5/4) multiplied by itself three times is 125/64 which is actually slightly less than 2.
In fact there is no way to tune a piano perfectly - there has to be a compromise in the intervals somewhere. The reason for this is exactly that no rational number (fraction) equals 2 when raised to an integer power.
Earlier quoted context omitted.
These are lovely. That the Fable one is one-shot is shocking.
Just for reference, here is the metaprompt I first gave to Opus: “I want to ask Claude Code to write a browser-based synthesizer for me. Please prepare a prompt for it that I can give to it for it to write the synthesizer. The synthesizer should automatically create interesting polyphonic music in which the various voices play off against each other in both harmony and contrast. The controls will affect the tone, rhy…