TWO CYCLES MAY SHARE A PULSE WITHOUT SHARING TIME.
CHOOSE A STUDY OR SET THE CYCLES · ☿ PLAY · PAUSE · STOP · ☿ SAVE
ADJUST CYCLE VALUES OR CHOOSE A STUDY · SAVE PRESERVES THE EXACT STATE
CYCLE A
7
PERIOD / COUNT
RETURNS EVERY 7 PULSES
Type positive groups totaling 7, e.g. 2+2+3.
MASTER CHRONOMETER
84
MASTER PULSES / MIN
4 taps sets the master clock
RELATIONSHIP
VIEW
FRAME
VOICE
E DORIAN · CYCLE SONIFICATION
ARPEGGIO DIRECTION
ASCEND · WRAP AT TOP
PRIMARY TRANSPORT ABOVE · SPACE = PLAY / PAUSE
MODECYCLE
FULL RESET35 pulses
RELATIVE PATTERNREPEATS AFTER 17.5 TIME-UNITS
CYCLE B
5
PERIOD / COUNT
RETURNS EVERY 5 PULSES
Type positive groups totaling 5, e.g. 2+3.
DUAL / COMMON FRAME
STATE UNCHANGED · FRAME CHANGED ONLY
JOVIAN VIEW
Hg STUDIES
PLACE A RETURN
Where do you think both cycles begin together again?
ADVANCED PERIOD SYSTEM
7:5 — SYNODIC
FOUNDATIONAL TWO-BODY
The foundational Engine state. Advanced studies preserve the same mathematical distinctions while adding documented source relationships, long recurrence and multi-body comparison.
RELATIONSHIPCYCLE 7 / 5
RECURRENCE35 pulses
ANALOGY ≠ EQUIVALENCE / SOURCE STUDY ≠ TRANSCRIPTION
SOURCE MOTION AUDIO IS A SEPARATE STUDY LAYER. THE 15:17 RECURRENCE DISPLAY REMAINS THE STRUCTURAL ABSTRACTION.
JOY / SHAKTI · SOURCE METER SEQUENCE · BARS 58–63
SOURCE-DERIVED METER MAP: 17/16 · 4/4 · 4/4 · 17/16 · 9/8 · 4/4 = 100 SIXTEENTH-NOTE UNITS. JOY CONTOUR ABSTRACTS ONLY THE SCORE’S UP / DOWN / TURNING MOTION INTO A B°7 SONIFICATION; IT DOES NOT REPRODUCE THE GUITAR TRANSCRIPTION.
IDEALIZED PERIODIC-MOTION ANALOGY · NOT EPHEMERIS / ANALOGY ≠ EQUIVALENCE
GUIDED LESSONFollow the Synodic Engine through listening, seeing, counting, placing a hunch, and joining the pulse.
GUIDED STUDY
HEAR → SEE → COUNT → PLACE → TAP
01 / HEAR
Listen before solving.
Start the motion and let the two cycles establish themselves. Notice which voice seems to return sooner, and whether the combined pattern feels like one bar or two independent clocks.
02 / SEE
Expose the geometry.
Use DUAL view to compare the pulse tracks with the orbital projection. Change COMMON / A / B frame and verify that the state does not change when the viewpoint changes.
03 / COUNT
Count the grouping, not just the total.
Live grouping count is shown for CYCLE mode. The accents move when grouping changes; the cycle length does not.
A
B
SOUTH INDIAN RHYTHM STUDY / SOURCED CONTEXT
Solkattu is not an automatic syllable skin. Wesleyan describes it as a system of spoken syllables and hand gestures used to teach and communicate rhythmic ideas in South Indian performing arts and to understand Karnatak tala.
R3 therefore does not invent syllables for arbitrary Synodic states or claim that a cycle setting is a tala.
TA KA DI MI | TA KI TA
Curated example from Berklee's Carnatic-rhythm teaching material: a seven-unit 4+3 grouping. It is shown as a sourced example, not generated from the current 7-cycle grouping.
Mark where your ear or eye expects the next meaningful recurrence, then let the machine travel there. This is not a test: the pleasure is in watching intuition meet—or miss—the returning pattern.
05 / TAP
Become one of the cycles.
The bounded TAP study works in CYCLE mode. One voice is removed; you supply its cycle return by tapping when you believe that cycle has reached its origin.
Tap study idle.
This interaction follows the learn-by-doing principle used by MIT Music Technology Lab rhythm modules, while using an original Synodic task rather than copying their interface.