Gonna go and follow all these/wishlist something so I come back to it.

My actual name one (kind of avant-garde/classical/electroacoustic/noise): https://vincentgiles.bandcamp.com

fc: https://faultycat.bandcamp.com

furl and fade: https://furlandfade.bandcamp.com (this is an algorithmic beat-based project, I think all drawn from WB2020)

Yeah this logo is sick.

History would suggest that 2022 will be the next WB, all going to plan.

Not too bad I'd say. I've learnt a bunch and do a bunch. I am massively losing motivation now but it's the last quarter so... yay.

Well, simply changing time signature isn't necessarily metric modulation. Metric modulation is changing between tempo and/or time signature where one fundamental pulse becomes a new, different, fundamental pulse. For example: an 8th note duplet becomes an 8th note triplet (1.5x faster, approximately) and that triplet then becomes the new 8th note duplet at a new tempo that is 1.5x faster than the original. Shifting from 4/4 to 3/4 at the same tempo isn't really something that needs/is metric modulation, because it is just losing (or gaining) a quarter-note impulse, but if you're really adhering to the difference in "feel" (few people actually do this), then adding the "feel" of one or the other by a technique such as polymetre, or polyrhythm, facilitates the change. So there are different metric devices that facilitate different types of changes in different ways. Hence my vague answer.

It depends on what you want to do in your transition. 3/4 and 4/4 are not very different from one another, unlike 6/8 and 4/4 or 6/8 and 3/4. A transition from 3/4 to 4/4 should work reasonably seamlessly without any fancy devices, as you're kind of just adding or subtracting a beat. But if you wanted to make the transition a little more fluid, you can superimpose one on the other for a short period before the change.

For the following, S = strong, W = weak (referring to the beat strength. SS will mean secondary-strong.

In 3/4, your pulse pattern is: S W W | S W W | S W W | etc. (counting ONE two three | ONE two three)

In 4/4 your pulse pattern is: S W SS W |S W SS W | S W SS W| etc. (counting ONE two THREE four | ONE two THREE four).

Ok so for a 3/4 you might have a pulse pattern: S W W | S W W | etc. and you might want to move it into 4/4, so you would introduce the 4/4 pulse pattern against the 3/4 pulse pattern, say, in one instrument.

I1 3/4|| S W W | S W W | S W W | S W W | S W W | S W W | 4/4 S W SS W | S W SS W | etc.

I2 3/4|| S W W | S W W | S W W | S W SS | W S W | SS W S | 4/4 S W SS W | S W SS W| etc.

In that example, instrument 2 introduces the "polymetre" of 4/4 against 3/4 facilitating a slightly smoother move into 4/4.

Notice that in the final bar before the 4/4 change there will be a "double accent" where the final strong pulse of the 3/4 has a new downbeat in 4/4. To get around this you simply disregard that beat structure a bit (I.e SS W W | 4/4 S W SS W) or make the transition long enough to have the full length of 3:4 (12 beats).

There are other ways to do this, but that is one of the easier ones. Is that what you are after?