From: owner-sc-users-digest@lists.io.com (sc-users-digest) To: sc-users-digest@lists.io.com Subject: sc-users-digest V1 #24 Reply-To: sc-users Sender: owner-sc-users-digest@lists.io.com Errors-To: owner-sc-users-digest@lists.io.com Precedence: bulk sc-users-digest Thursday, January 21 1999 Volume 01 : Number 024 ---------------------------------------------------------------------- Date: Thu, 7 Jan 1999 10:10:27 -0600 From: antiorp@tezcat.com (=cw4t7abs) Subject: s!n.x(2^n) + propaganda \ \ - - 0f0003.m2zk!n3nkunzt \ \ \ s!n.x(2^n) re:leasz / /\ \ 4 s!n.x(2^n) re:leasz may aksez : http://m9ndfukc.com/propaganda 4 m9ndfukc.os propaganda may aksez : http://m9ndfukc.com/propaganda !f tzo dez!re m9ndfukc.os \\ s!n.x(2^n) no!sz.masch!ne !nterpolat!on. anti.akadem!k. info - kontakt: smtp55o@m9ndfukc.com - subjekt sin.x format - mp2 \ 60+megz || audio cd + zoftkode [see info] duration - 0+60 data - http://m9ndfukc.com/propaganda _____...___.____ 0f0003.m2zk!n3nkunzt_|-art!kl nummer 0+28. detektion of onset + offset asynchrony in multikomponent komplexes. diskriminating standard stimulus from signal stimulus audibility as crisis and kommodification in sine.x ___________________||||||| dze no!sz ztruktur as system degraded to an abstract totality inspired by the urge to actualize itself as it arrives into tension with other its audibility as subject, acquires urgency evoked by experience \ stored data \ memory module its central impulses mobilized by the objective tendencies of the crisis itself. accelerating along 0+1 hyperbolic path the system resists delimitation in an obscure anti-synthesis force of will. as consequence of audibility the audible gains awareness of self-internal structure, self-habitation. its actualization - its loss of maschinik autonomy, incurs an internal dialectic: retain self-alienation, experience internal kommodities simultaneously with event, whilst regarded as an external structure engaged in recursive reflection. its impulses manifested in exterior structures it is alienated under a regime of ownership its becoming audible becomes a means of production. the industrialization of audibility kommodified - the relationship between labor of production and the event comprehends the self-generation of linear audibility as process, the objektivisation as generation of a confronting object as alienation of the event to the process [ kapitilization ] and the resolution of this alienation. actualization alone permits comprehension of the essence of production and the objective event: an actual becoming of entity - the result of its process of audibility. as an existing event, in an effort to preserve self-experience it defines self-author of self-development. if the process of audibility is interpreted as the experiential basis of the kommodification of a self-generation process it eventuates that recognition of the self at stages of production permits the resolution of the alienation of temporal existence. critical insight into the dialectic of alienated production and kommodification attains practical efficacy within the system, arising out of the objective krisis complex. dze no!sz ztruktur as one kommodified system of recursive discourse impedes examination as a konsummate territorialized product. internal events engaged in non-deterministik circulation, insist on non-fixity of form. consequently the system's architecture may be generalized only as embracing [relays] the means of production rezultant of the means of production - it is a massless object, an abstrakt maschine capable of accelerating endlessly, its capacity directly dependent upon the practical appropriation of internal events which are measured in accordance to their relations in discourse. the value of the commodity is subsequently analyzed in terms of explanations of event relationships as utilized in temporal audible space. \\ d!fferent!al d.ka! on 0+1 dezolate plane ov debr!z ccccellofane spasz !nhab!td w!th !mmater!al 4rmz enkloz!ng komplecx !nternl referentz ccccel-konzeptual!szd 4mat!onz dzat = flatl! abrogate object!v anal!s!z - - - - - - relat!v!zt!kc effektz bg!n zett!ng !n - - - - - - alternat!v h!ztor!ez + parallel un!versez - - art!kl nummer 0+28. anti[c]m9ndfukc.com ma! kontakt m9ndfukc_arkiv@m9ndfukc.com 4 komplet l!zt!ng [x] < 0\ zve!te[z]!ztem \1 > zoftkode 4 s!n.x cd = dounloadble from http://194.19.130.194/=cw4t7abs/0f0003/skilerthu_thetta_mal-/%40%25a631%25a8 %10%25ad%20%25d9%20%7c%20%7c.sit.bin the url is 0+1 line naturally. just as naturally the zoftkode is macintosh only. ------------------------------ Date: Sun, 10 Jan 1999 16:14:32 -0800 From: Mark Polishook <---@---.---> Subject: formant bandwidth James, In the Formant oscillator, how can I determine the bandwidth of the formant? Is this interpretation correct? formant bandwidth = fundfreq * (fundfreq / widthfreq) Thanks, Mark Polishook ------------------------------ Date: Sun, 10 Jan 1999 21:43:28 -0600 From: James McCartney <---@---.---> Subject: Re: formant bandwidth At 6:14 PM -0600 1/10/99, Mark Polishook wrote: >James, > >In the Formant oscillator, how can I determine the bandwidth of the >formant? Is this interpretation correct? > >formant bandwidth = fundfreq * (fundfreq / widthfreq) The bandwidth is the widthfreq. --- james mccartney james@audiosynth.com http://www.audiosynth.com If you have a PowerMac check out SuperCollider2, a real time synth program: ------------------------------ Date: Sat, 16 Jan 1999 13:18:26 +0000 From: finer@easynet.co.uk Subject: interacting spawns + any luck on 2 other matters ? I'm not sure whether or not this is a GUIUtils question for Iannis or more general - I haven't yet been able to try out the new GUIUtils so maybe the answer is in there - what I want to know is can succesive spawns (in GUIUtils) of the same object from the palette refer to the previous spawn or are they only able to refer to global variables. Thus in the example below is there a way in which having 'spawned' the first play window that the next one 'spawned' can refer, for example, to the pitch setting of the first. In a non GUIUtils world I've done this kind of thing using predefined global variables but I was hoping it could be done 'on the fly' as it were, so that without predefining a list to hold variables or variables themselves one could 'spawn' nested levels of some process in which each level refers to the one above. Hope this makes some sense ! - -------------------------------------------------------- ( // record from audio in to SC (mouse x = input gain ) & play var signal,insound; signal = Signal.newClear(Synth.sampleRate * 2.0); SoundManager.with({ SoundPalette.fromspecs([ ['addContinuousSound', //record "record", { RecordBuf.ar(signal, insound, 1, 0, 0, 1, 0); }], ['addsound', // play "play", [['sliderb',"pitch",1,-2,2,0.01]], {arg rate = 1; Pan2.ar( PlayBuf.ar(signal,Synth.sampleRate,rate,0,0,signal.size-2), 0)} ] ]);// end of sound palette insound = Scope.window("Input", Synth.sampleRate * 0.1, Rect.new(498, 59, 794, 249), AudioIn.ar(1,MouseX.kr(1.0,0.1))) }) // end of sound manager ) - ---------------------------------------------------------------------------- - ------------- 3 other matters: 1. In the above example you'll find that you hear the sound as it's being recorded - why ? This is not to do with the machine as it happens on both PowerBook and G3 desktop, nor does it happen in an earlier non GUIUtils attempt to do the same thing. 2. Any luck on the sample click problem ? Thanks, Jem ------------------------------ Date: Sat, 16 Jan 1999 14:53:10 -0800 From: Mark Polishook <---@---.---> Subject: functions James, Compared to the 1st example, why does the 2nd example need the 'extra' set of curly braces within the Synth.play line? ex. 1 ( var audioSignalFunc; audioSignalFunc = {SinOsc.ar(440, 0, 0.34)}; Synth.play(audioSignalFunc) ) ex. 2 ( var sinOscFunc; sinOscFunc = { arg freq, amp; SinOsc.ar(freq, 0, amp) }; Synth.play( { sinOscFunc.value(440, 0.25) } ) ) Thanks, Mark ------------------------------ Date: Sat, 16 Jan 1999 17:05:59 -0600 From: James McCartney <---@---.---> Subject: Re: functions At 4:53 PM -0600 1/16/99, Mark Polishook wrote: >James, > >Compared to the 1st example, why does the 2nd example need the 'extra' >set of curly braces within the Synth.play line? > >ex. 1 >( >var audioSignalFunc; >audioSignalFunc = {SinOsc.ar(440, 0, 0.34)}; >Synth.play(audioSignalFunc) >) > >ex. 2 >( >var sinOscFunc; >sinOscFunc = { > arg freq, amp; > SinOsc.ar(freq, 0, amp) }; >Synth.play( { sinOscFunc.value(440, 0.25) } ) >) Because Synth.play takes a function. It passes as an argument to that function the synth object. If you were not passing arguments to your function then you would not need the extra parens. : ( var sinOscFunc; sinOscFunc = { SinOsc.ar(440, 0, 0.25); }; Synth.play(sinOscFunc); ) --- james mccartney james@audiosynth.com http://www.audiosynth.com If you have a PowerMac check out SuperCollider2, a real time synth program: ------------------------------ Date: Sat, 16 Jan 1999 16:09:25 -0800 From: Mark Polishook <---@---.---> Subject: Re: functions James, Thanks for your response. Just to clarify conceptually, then if I do pass arguments to the function in Synth.play, ie, Synth.play( { sinOscFunc.value(440, 0.5) } do the curly braces then merely defer the sending in of the Synth object until AFTER the function has received the arguments from .value? - -Mark > > > ( > var sinOscFunc; > sinOscFunc = { > SinOsc.ar(440, 0, 0.25); > }; > Synth.play(sinOscFunc); > ) > > --- james mccartney james@audiosynth.com > http://www.audiosynth.com > If you have a PowerMac check out SuperCollider2, a real time synth > program: > - -- * * * * * * * * Mark Polishook Assistant Professor of Composition Music Department Central Washington University Ellensburg, WA 98926 tel.: 509-963-1245 fax: 509-963-1239 e-mail: polishoo@cwu.edu http://www.cwu.edu/~music/composition ------------------------------ Date: Sun, 17 Jan 1999 08:48:02 -0600 From: James McCartney <---@---.---> Subject: Re: functions At 6:09 PM -0600 1/16/99, Mark Polishook wrote: >James, > >Thanks for your response. Just to clarify conceptually, then if I do >pass arguments to the function in Synth.play, ie, > >Synth.play( { sinOscFunc.value(440, 0.5) } > >do the curly braces then merely defer the sending in of the Synth object >until AFTER the function has received the arguments from .value? No. Curly braces do not defer things, they define a function. That function's body gets executed when called. The outer function's body above calls the 'value' method on the contents of the sinOscFunc variable's value which happens to be a function. THe outer function is called with the synth arg and that function then calls the sinOscFunc. The above is the same as the following. The synth argument is not used so it is not written. Synth.play( { arg synth; sinOscFunc.value(440, 0.5) } ); --- james mccartney james@audiosynth.com http://www.audiosynth.com If you have a PowerMac check out SuperCollider2, a real time synth program: ------------------------------ Date: Sun, 17 Jan 1999 13:31:11 -0500 From: "Chris Sattinger" <---@---.---> Subject: Subclassing I've been writing some classes, but I can never get them to inherit much of anything from the super class other than the constructor. So I cheaply do UGen subclasses, which basically works, but lacks all the benefits of proper inheritance. This should probably be a subclass of Spawn, but I couldn't get that to work at all. James, any suggestions ? Further clarification of how super enables methods to be inherited would be appreciated. // class Pod takes an array of functions and an index, has a method Pod.sproing // that pops open a gui, gives it a volume control and values the selected function, // with a sustained envelope that can be released. // this works ! but doesn't properly return as an instance of pod, see comments Pod : UGen { classvar width = 180, height = 140; var <>window; *sproing{ arg which,funcArray,initVol=0.8,numChannels=2; ^super.new.sproingInit(which,funcArray,initVol,numChannels) } sproingInit { arg which,funcArray,initVol, numChannels; ^Spawn.ar({arg argSpawn;// this returns sound, but as an instance of output proxy // Spawn.ar({arg argSpawn; // this returns no sound, but does return as Pod instance var window; var vol; var x, y; x=200 + 600.rand; y=50 + 400.rand; window=GUIWindow.new(funcArray.at(which).at(1), Rect.newBy(x, y, width, height)) .backColor_(Color.new(128.rand, 128 + 128.rand, 128 + 128.rand)) .onClose={argSpawn.releaseAll}; SliderView.new( window, Rect.newBy( 3, 10, 14,128 ), "Volume", initVol, 0,1 , 0, 'linear'); EnvGen.ar(Env.asr(0.005, 0.8, 0.2),{ ((funcArray.at(which)).at(0).value)*ControlIn.kr(window.at(0)) }.value ; ); },numChannels,1,1) //once only } // and because it doesn't return as Pod, I can't access its methods: method{ } // Here is a simple example, note that Pod is now returning // instances of output proxies, not Pods. ({ var r, tone ; r=[ [{FSinOsc.ar(800)},"sine"] , [ { var a, b; a = FSinOsc.ar(800); b = FSinOsc.ar(XLine.kr(200,500,5)); ((a * b) + a) * 0.125 },"ring" ] ]; tone = Pod.sproing(1,r); tone.postln; tone }.play; GUIWindow.closeAll; ) __________________________________________ :\\_______ http://crucial-systems.com __________________________________________ :\\_______ ------------------------------ Date: Sun, 17 Jan 1999 16:35:47 -0600 From: James McCartney <---@---.---> Subject: Re: Subclassing At 12:31 PM -0600 1/17/99, Chris Sattinger wrote: >I've been writing some classes, but I can never get them to inherit much >of anything from the super class other than the constructor. >So I cheaply do UGen subclasses, which basically works, but lacks all the >benefits >of proper inheritance. >This should probably be a subclass of Spawn, but I couldn't get that to work >at all. You can't inherit from UGens because UGen's synthesis code is written in C. Look at some of the other classes that function like UGens but which are not subclasses of UGen such as XFadeTexture, PingPongN, OrcScore, etc.. These classes all have class methods that return graphs of UGens. They do not themselves have instances. --- james mccartney james@audiosynth.com http://www.audiosynth.com If you have a PowerMac check out SuperCollider2, a real time synth program: ------------------------------ Date: Mon, 18 Jan 1999 08:57:39 +0200 From: laurson@amadeus.siba.fi (Mikael Laurson) Subject: Sonorus card I am currently testing the Sonorus Audi/o card with the Sonorus DA/24 converters. (I have not yet bought them.) This system seems to work inside SC2 pretty well (if the "Sound Input On" is off). There is a small performance penalty compared to Sound Manager (typically a couple of %). The sound quality seems to be fine and is much better than with Mac converters. The main problem inside SC is that if SC2 goes over100% with the CPU peak there is a crash with Sonorus Audi/o (Sound Manager is much more forgiving: I have hardly never crashes when overloading the system). The other problem is that when I go outside SC2 the machine runs much slower. Typically I have always my Lisp system running in parallel with SC2. Now if SC2 is in the background the Lisp system is about 2.5 times slower with Audi/o than with Sound Manager. Things are quite hopeless if I turn on the "Sound Input On" option. This makes my Lisp system about 30 times slower. (This problem was already mentioned by James.) The Sonorus manual mentions that you should turn off unused channels. For this you have to have the Steinberg's Cubase program. Can this be done in SC2? This kind of option could make the Sonorus system much more usable. Are there similar problems with the Korg card (crashes, efficiency)? If not then probably the Korg card is currently the only reasonable choice for SC2. (I am interested in the Sonrus system as it seems to have better specs than Korg.) Mikael ================================ Mikael Laurson Hollantilaisentie 1 A 2 00300 Helsinki 33 Finland E-mail: laurson@siba.fi ================================ ------------------------------ Date: Mon, 18 Jan 1999 11:21:48 +0100 From: "Iannis Zannos" <---@---.---> Subject: Re: interacting spawns + any luck on 2 other matters ? Jem, >in there - what I want to know is can succesive spawns (in GUIUtils) of the >same object from the palette refer to the previous spawn or are they only >able to refer to global variables. There is no built-in scheme for sharing variables in SoundModel or other parts of GUIUtils. Refer to global variables in your sound functions or use class variables or some other scheme for sharing data in a custom subclass of SoundModel. > 1. In the above example you'll find that you hear the sound as it's being > recorded - why ? Probably because the signal of RecordBuf.ar is passed as output to the TSpawn that handles sound functions - in which case some other way must be devised to keep the signal from being output. I will have a look at it. > >2. Any luck on the sample click problem ? Which click problem do you mean? Iannis SIM Tiergartenstr. 1, D-10785 Berlin, Germany Fax: +49 30 25481172 ------------------------------ Date: Mon, 18 Jan 1999 17:40:57 +0100 From: "Iannis Zannos" <---@---.---> Subject: Crash when closing window from one of its views Hello, following code for a simple Value-Select Window that allows the user to select a value from a list will crash when trying to close the window upon clicking the OK button (see commented lines). Is this inability to close a window from one of its contained views intended? Iannis Z. ============================================== ValueSelectWindow : GUIWindow { var okaction, items, Subject: Re: Subclassing >You can't inherit from UGens because UGen's synthesis code is written >in C. Look at some of the other classes that function like UGens >but which are not subclasses of UGen such as XFadeTexture, >PingPongN, OrcScore, etc.. > >These classes all have class methods that return graphs of UGens. >They do not themselves have instances. I've been looking at all the classes carefully. How can I inherit from the superclass ? For instance if I subclass TSpawn, I would like to inherit the trigger method. __________________________________________ :\\_______ http://crucial-systems.com __________________________________________ :\\_______ ------------------------------ Date: Mon, 18 Jan 1999 12:28:12 -0600 From: James McCartney <---@---.---> Subject: Re: Subclassing At 11:40 AM -0600 1/18/99, Chris Sattinger wrote: >>You can't inherit from UGens because UGen's synthesis code is written >>in C. >I've been looking at all the classes carefully. >How can I inherit from the superclass ? >For instance if I subclass TSpawn, I would like to >inherit the trigger method. I repeat: >>You can't inherit from UGens. Do not subclass TSpawn. What is it you are trying to accomplish in the end and I will try to lead you there. One thing you could do is the following: Pod { // Pods are objects that create and manage a certain ugen graph... var ------------------------------ Date: Mon, 18 Jan 1999 21:03:43 +0100 From: "Iannis Zannos" <---@---.---> Subject: Glitch on audio through Hello, The example from AudioIn: { AudioIn.ar([1,2]) }.play; // stereo through patching from input to output glitches extremely when playing from audio-CD. Am I doing something wrong? Thanks, Iannis Zannos SIM Tiergartenstr. 1, D-10785 Berlin, Germany Fax: +49 30 25481172 ------------------------------ Date: Mon, 18 Jan 1999 15:30:39 -0500 From: "Chris Sattinger" <---@---.---> Subject: Re: Subclassing > I said: >>I've been looking at all the classes carefully. >>How can I inherit from the superclass ? >>For instance if I subclass TSpawn, I would like to >>inherit the trigger method. > >James McCartney said: >I repeat: > >>>You can't inherit from UGens. Ah! not from any UGens or its progeny. Understood now. > >Do not subclass TSpawn. >What is it you are trying to accomplish in the end >and I will try to lead you there. > >One thing you could do is the following: Yes, I see that, thanks. That will definitely work. So even though I had subclassed my Pod from UGen, it doesn't really take or get anything from that relationship, it might as well just be Pod { // and get on with it. __________________________________________ :\\_______ http://crucial-systems.com __________________________________________ :\\_______ ------------------------------ Date: Mon, 18 Jan 1999 15:33:09 -0500 From: "Chris Sattinger" <---@---.---> Subject: Pulse Divider vs. Impulse Sequencer A note for anyone encountering this one : In this little example, I find that of the three triggers shown below, the first works, the second does not, but I can use the ImpulseSequencer instead of PulseDivider, and that works. { TSpawn.ar({ SinOsc.ar(XLine.kr(100,20,0.4),XLine.kr(10,2000,0.9),XLine.kr(1,0.001,0.5)) },1,nil, // Impulse.ar(4) // the original // PulseDivider.ar(Impulse.ar(4),8) // an attempt to divide it down ImpulseSequencer.ar(`[1,0,0,0,0,0,0,0,0],Impulse.ar(4)) ); }.scope(0.1) __________________________________________ :\\_______ http://crucial-systems.com __________________________________________ :\\_______ ------------------------------ Date: Tue, 19 Jan 1999 18:33:46 +0100 From: "Iannis Zannos" <---@---.---> Subject: Closing scopes when a synth stops. (release method? ) Is there a way to close a Scope window opened on a specific signal when that signal stops being active? For example, when you are sampling repeatedly during a performance and want to use one Scope window rather than pop up a new window each time a new recording is started, you either need to reuse one window for different subsequently spawned recording processes, or to close the recording window after its recording spawn process is ended. Iannis Zannos SIM Tiergartenstr. 1, D-10785 Berlin, Germany Fax: +49 30 25481172 ------------------------------ Date: Tue, 19 Jan 1999 19:02:52 -0500 From: Mark Ballora <---@---.---> Subject: Random access of score file Hello -- When using OrcScore, is there a way to put indexes in the score file so that the user can start playback from any given point, rather than only playing from beginning to end? Mark =============================================================================== Mark Ballora http://www.music.mcgill.ca/~ballora/ Music Technology "The mysterious is the source of all true McGill University Faculty of Music art and science. He to whom this emotion 555 Sherbrooke Street West is a stranger, who can no longer pause Montreal, Quebec H3A 1E3 to wonder and stand rapt in awe, is as CANADA good as dead: his eyes are closed." Albert Einstein =============================================================================== ------------------------------ Date: Wed, 20 Jan 1999 09:39:36 -0600 From: antiorp@tezcat.com (=cw4t7abs) Subject: 1 additional life form digitally murdered by chris@MUSIC.MCGILL.CA 1 additional life form digitally murdered by chris@MUSIC.MCGILL.CA if tzo dezire - - - - comments to : chris@MUSIC.MCGILL.CA to subscribe to the max forum : email to : listserv@lists.mcgill.ca email body : Subscribe MAX To: chris@MUSIC.MCGILL.CA From: antiorp@tezcat.com (=cw4t7abs) Subject: Cc: Bcc: + <+@symbiotic.org> X-Attachments: you brute. w!l z hou man! mor l!f formz du = k!ll pr!or 2 ecz!t!ng ur pozt az ounr. >Date: Wed, 20 Jan 1999 09:19:08 -0500 >From: "L-Soft list server at McGill University Computing Centre (1.8d)" > >Subject: Your removal from the MAX list >To: Nik Gaffney <+@SYMBIOTIC.ORG> >cc: Chris Murtagh , > Christopher Murtagh >Reply-To: MAX-request@LISTS.MCGILL.CA >X-LSV-ListID: MAX >From: owner-MAX@LISTS.MCGILL.CA >X-Loop-Detect: 1 > >Wed, 20 Jan 1999 09:19:08 > >You have been removed from the MAX list (MAX - Interactive >Music/Multimedia Standard Environments) by Christopher Murtagh >. > Search lasted: 28.916667 seconds ------------------------------ Date: Wed, 20 Jan 1999 17:50:34 +0100 From: Paul De Marinis <---@---.---> Subject: unsubscribe __S_T_U_D_I_O__S_O_N____A_U_D_I_O_L_A_B__ http://www.cnap-villa-arson.fr/audiolab Villa Arson Nice France Jerome Joy, professeur Marie-Pierre Bonniol, assistante ------------------------------ Date: Wed, 20 Jan 1999 13:51:55 -0600 From: James McCartney <---@---.---> Subject: Re: Random access of score file At 6:02 PM -0600 1/19/99, Mark Ballora wrote: >Hello -- > >When using OrcScore, is there a way to put indexes in the score file so >that the user can start playback from any given point, rather than only >playing from beginning to end? > >Mark Write your own OrcScore. If you look at OrcScore it is a very simple class. You can write your own similar class to do whatever you want. --- james mccartney james@audiosynth.com http://www.audiosynth.com If you have a PowerMac check out SuperCollider2, a real time synth program: ------------------------------ Date: Wed, 20 Jan 1999 13:50:42 -0600 From: James McCartney <---@---.---> Subject: Re: 1 additional life form digitally murdered by chris@MUSIC.MCGILL.CA This posting has nothing to do with SuperCollider. Please post on topic and you will not suffer the same fate here. --- james mccartney james@audiosynth.com http://www.audiosynth.com If you have a PowerMac check out SuperCollider2, a real time synth program: ------------------------------ Date: Wed, 20 Jan 1999 14:10:13 -0800 From: Mark Polishook <---@---.---> Subject: filters 001 This filter doesn't seem to (lowPass) filter its input. ( { var input, output; input = WhiteNoise.ar(1); output = (0.5 * input) + Delay1.ar(input, 0.5); }.play ) but this one DOES (highPass) its input. ( { var input, output; input = WhiteNoise.ar(1); output = (0.5 * input) - Delay1.ar(input, 0.5); // Delay1 'coefficient' is its mul value }.play ) I know that this is DSP 000001. Have I missed something? Thanks, Mark ------------------------------ Date: Wed, 20 Jan 1999 18:00:09 -0500 (EST) From: "Colby N. Leider" <---@---.---> Subject: Re: filters 001 it's working. you can verify it with this code. ( // view magnitude spectrum of input. { var fftsize, cosineTable, window, src, fft, wind, view, scopeBuf1, scopeBuf2, scope; var filename, sound, signal; fftsize = 1024; window = Signal.welchWindow(fftsize); // make a signal analysis window cosineTable = Signal.fftCosTable(fftsize); // make cosine table required for FFT i = WhiteNoise.ar(1); o = (0.5 * i) + Delay1.ar(i, 0.5); src = o * 0.01; // input wave // fourier transform fft = FFT.ar(fftsize, 0, cosineTable, window, nil, src, 0.0); // wrap fft magnitude spectrum with Scope ugen Scope.window("FFT", fftsize, nil, fft.magnitudeApx); src }.play; ) On Wed, 20 Jan 1999, Mark Polishook wrote: > This filter doesn't seem to (lowPass) filter its input. > > ( > { > var input, output; > input = WhiteNoise.ar(1); > output = (0.5 * input) + Delay1.ar(input, 0.5); > }.play > ) > > but this one DOES (highPass) its input. > > ( > { > var input, output; > input = WhiteNoise.ar(1); > output = (0.5 * input) - Delay1.ar(input, 0.5); // Delay1 'coefficient' > is its mul value > }.play > ) > > I know that this is DSP 000001. Have I missed something? > > Thanks, > Mark > > > > ------------------------------ Date: Thu, 21 Jan 1999 10:54:41 +1100 From: Garth Paine <---@---.---> Subject: no additional life form >This posting has nothing to do with SuperCollider. >Please post on topic and you will not suffer the same fate here. Thanks James - the MAX list is really sick of this stuff Cheers, Garth See information about my new immersive interactive sound installations http://creativeaccess.com.au/~garth/ ,.,.,.,.,.,.,.,.,.,.,.,.,.,.,.,.,.,.,. . Composer, Sound Designer .. Interactives Designer ... Interactive Installation Artist .... Exhibition Consultant .,.,.,.,.,.,.,.,.,.,.,.,.,.,.,.,.,.,.,., ------------------------------ Date: Wed, 20 Jan 1999 18:14:59 -0600 From: James McCartney <---@---.---> Subject: Re: filters 001 At 4:10 PM -0600 1/20/99, Mark Polishook wrote: >This filter doesn't seem to (lowPass) filter its input. > >( >{ >var input, output; >input = WhiteNoise.ar(1); >output = (0.5 * input) + Delay1.ar(input, 0.5); >}.play >) As Colby points out it does work. That happens to be a very weak filter. It only noticeably cuts the very top octave which is 11025-22050 Hz. This filter is the same as LPZ1. --- james mccartney james@audiosynth.com http://www.audiosynth.com If you have a PowerMac check out SuperCollider2, a real time synth program: ------------------------------ Date: Wed, 20 Jan 1999 16:41:27 -0800 From: Mark Polishook <---@---.---> Subject: Re: filters 001 Thanks James and Colby, I've now off and running... > At 4:10 PM -0600 1/20/99, Mark Polishook wrote: > >This filter doesn't seem to (lowPass) filter its input. > > > >( > >{ > >var input, output; > >input = WhiteNoise.ar(1); > >output = (0.5 * input) + Delay1.ar(input, 0.5); > >}.play > >) > > As Colby points out it does work. That happens to be a very > weak filter. It only noticeably cuts the very top octave > which is 11025-22050 Hz. > > This filter is the same as LPZ1. > > --- james mccartney james@audiosynth.com > http://www.audiosynth.com > If you have a PowerMac check out SuperCollider2, a real time synth > program: > - -- * * * * * * * * Mark Polishook Assistant Professor of Composition Music Department Central Washington University Ellensburg, WA 98926 tel.: 509-963-1245 fax: 509-963-1239 e-mail: polishoo@cwu.edu http://www.cwu.edu/~music/composition ------------------------------ Date: Wed, 20 Jan 1999 19:18:05 -0600 From: antiorp@tezcat.com (=cw4t7abs) Subject: Re: no additional life form >>This posting has nothing to do with SuperCollider. >>Please post on topic and you will not suffer the same fate here. rekuezt or threat +? >Thanks James - the MAX list is really sick of this stuff s!k ov dze den!al ov l!vert! ou! >Cheers, > >Garth > >See information about my new immersive interactive sound installations >http://creativeaccess.com.au/~garth/ !nkompetent >,.,.,.,.,.,.,.,.,.,.,.,.,.,.,.,.,.,.,. >. Composer, Sound Designer >.. Interactives Designer >... Interactive Installation Artist >.... Exhibition Consultant >.,.,.,.,.,.,.,.,.,.,.,.,.,.,.,.,.,.,.,., korporat fasc!zt ------------------------------ Date: Tue, 20 Oct 1998 19:25:35 -0800 From: Gene Schwartz <---@---.---> Subject: Re: no additional life form >>This posting has nothing to do with SuperCollider. >>Please post on topic and you will not suffer the same fate here. > >Thanks James - the MAX list is really sick of this stuff > >Cheers, > >Garth > Thanks Garth. You don't speak for everyone on the MAX list! "I began to add a few things up and realized there was no way I could come from a little town in Iowa, be eating 2,000 people a year, and nobody said anything about it" ------------------------------ Date: Wed, 20 Jan 1999 23:31:31 -0600 From: James McCartney <---@---.---> Subject: Re: no additional life form At 7:18 PM -0600 1/20/99, =cw4t7abs wrote: >>>This posting has nothing to do with SuperCollider. >>>Please post on topic and you will not suffer the same fate here. > > > rekuezt or threat +? Oh it's definitely a threat. This is not a public forum. I pay for this mailing list. It is meant for SuperCollider customers, and you are not one. As long as you are on topic or around about on topic you can stay. I've enjoyed some of your inscrutable posts as art in the past. But lately you've been losing some of your charm. On two occasions you've posted insults here to persons on this mailing list who've actually paid for SuperCollider. I also do not appreciate dumps of off topic material here. Fortunately the sc-users readers were spared a series of off topic postings because you posted them from an address from which you are not subscribed, so they bounced. PS: It might be nice if you paid for either SuperCollider or MSP since your A9FF CD contains large amounts of both. --- james mccartney james@audiosynth.com http://www.audiosynth.com If you have a PowerMac check out SuperCollider2, a real time synth program: ------------------------------ Date: Thu, 21 Jan 1999 01:13:33 -0600 From: antiorp@tezcat.com (=cw4t7abs) Subject: Re: no additional life form >At 7:18 PM -0600 1/20/99, =cw4t7abs wrote: >>>>This posting has nothing to do with SuperCollider. >>>>Please post on topic and you will not suffer the same fate here. >> >> >> rekuezt or threat +? > >Oh it's definitely a threat. fr. sch!vr. merc! pour votre v!olensz. >This is not a public forum. pardon. ma!z plz modulat velkom msg + shall unzub !n 1 urgent fasch!on. - az dont konz!dr ccelv publ!k. > I pay for this mailing list. trez b!en. ! altzo pa! 4 m! luvl! konztrukt!onz. tzo. ma! ! hav zom watr plz +? >It is meant for SuperCollider customers, phpz attach 1 zoft plakard 2 dze vlkom msg +? phpz 1 wh!ch = ztatez `moo` `moo` dzn ! shall b zkared + run awa! rap!dl! >and you are not one. !t = nvr trappd zoket = opn s!nsz 1 !n!t!al kontakt watch m! bl!nk nou u bl!nk ma! ! zlap u >I also do not appreciate dumps of off topic material here. oke. _ pr!or _ 2 ur koment!ng on hav eczpreszd v!a pr!vate ma!l - pardon. havnt rece!vd +? ztate aga!n +? pardon.pardon. repet!t!on teachez. pardon.pardon.pardon. kould kont!nue !f u l!ke ___... >Fortunately the sc-users readers were spared a series of off topic postings >because you posted them from an address from which you are not subscribed, >so they bounced. +++ dze! were posztd en fakt. du = m!szd +? shall zend aga!n +? dze! = apropoz s!n.x cd - s!n.x = much luvl!er dzen a9ff. akompan!ed b! 1 zupr art!kl ent!tld >PS: It might be nice if you paid for either SuperCollider or MSP >since your A9FF CD contains large amounts of both. PS: du = wrote msp +? hav altzo wr!tn 1 max l!ke env ma!z !t zekret at dze moment PS: !t !z n!sz - ma!z du = !nkorrekt A9FF - data mattr 4rom t!me ago cezt vra! = r!zn not fond ov a9ff az much az s!n.x a9ff = ~datd + A9FF == konta!nz 0+0 msp ma!z sc = zplend!d. cezt vra! auss!. peutetre. + az ment!ond 2 1 addtl l!f 4rm az du = !ntrztd !n meet!ng =cw4t7abs ma! aksez fezt!vl !n sloven!a. z l!nk b.lo http://194.19.130.194/=cw4t7abs/0f0003/ztpd/=cw4t7abs_net_action.html bzp. et merc! pour votre v!olensz. [naturall! !t = m! fault alwa!z az !t !z ! kausz!ng ur v!olensz b!ensur. ou!. 2jourz.jourz. cezt ta foute.cezt ta foute] az prom!szd dze art!kl. tak. \ \ - - 0f0003.m2zk!n3nkunzt \ \ \ s!n.x(2^n) re:leasz / /\ \ 4 s!n.x(2^n) re:leasz may aksez : http://m9ndfukc.com/propaganda 4 m9ndfukc.os propaganda may aksez : http://m9ndfukc.com/propaganda m9ndfukc.os \\ s!n.x(2^n) no!sz.masch!ne !nterpolat!on. anti.akadem!k. info - kontakt: smtp55o@m9ndfukc.com - subjekt sin.x format - mp2 \ 60+megz || audio cd + zoftkode [see info] duration - 0+60 data - http://m9ndfukc.com/propaganda/ _____...___.____ 0f0003.m2zk!n3nkunzt_|-art!kl nummer 0+28. detektion of onset + offset asynchrony in multikomponent komplexes. diskriminating standard stimulus from signal stimulus audibility as crisis and kommodification in sine.x ___________________||||||| dze no!sz ztruktur as system degraded to an abstract totality inspired by the urge to actualize itself as it arrives into tension with other its audibility as subject, acquires urgency evoked by experience \ stored data \ memory module its central impulses mobilized by the objective tendencies of the crisis itself. accelerating along 0+1 hyperbolic path the system resists delimitation in an obscure anti-synthesis force of will. as consequence of audibility the audible gains awareness of self-internal structure, self-habitation. its actualization - its loss of maschinik autonomy, incurs an internal dialectic: retain self-alienation, experience internal kommodities simultaneously with event, whilst regarded as an external structure engaged in recursive reflection. its impulses manifested in exterior structures it is alienated under a regime of ownership its becoming audible becomes a means of production. the industrialization of audibility kommodified - the relationship between labor of production and the event comprehends the self-generation of linear audibility as process, the objektivisation as generation of a confronting object as alienation of the event to the process [ kapitilization ] and the resolution of this alienation. actualization alone permits comprehension of the essence of production and the objective event: an actual becoming of entity - the result of its process of audibility. as an existing event, in an effort to preserve self-experience it defines self-author of self-development. if the process of audibility is interpreted as the experiential basis of the kommodification of a self-generation process it eventuates that recognition of the self at stages of production permits the resolution of the alienation of temporal existence. critical insight into the dialectic of alienated production and kommodification attains practical efficacy within the system, arising out of the objective krisis complex. dze no!sz ztruktur as one kommodified system of recursive discourse impedes examination as a konsummate territorialized product. internal events engaged in non-deterministik circulation, insist on non-fixity of form. consequently the system's architecture may be generalized only as embracing [relays] the means of production rezultant of the means of production - it is a massless object, an abstrakt maschine capable of accelerating endlessly, its capacity directly dependent upon the practical appropriation of internal events which are measured in accordance to their relations in discourse. the value of the commodity is subsequently analyzed in terms of explanations of event relationships as utilized in temporal audible space. \\ d!fferent!al d.ka! on 0+1 dezolate plane ov debr!z ccccellofane spasz !nhab!td w!th !mmater!al 4rmz enkloz!ng komplecx !nternl referentz ccccel-konzeptual!szd 4mat!onz dzat = flatl! abrogate object!v anal!s!z - - - - - - relat!v!zt!kc effektz bg!n zett!ng !n - - - - - - alternat!v h!ztor!ez + parallel un!versez - - art!kl nummer 0+28. anti[c]m9ndfukc.com kontakt m9ndfukc_arkiv@m9ndfukc.com 4 komplet l!zt!ng [x] < 0\ zve!te[z]!ztem \1 > zoftkode 4 s!n.x cd = dounloadble from http://194.19.130.194/=cw4t7abs/0f0003/skilerthu_thetta_mal-/%40%25a631%25a8 %10%25ad%20%25d9%20%7c%20%7c.sit.bin the url is 0+1 line naturally. just as naturally the zoftkode is macintosh only. ------------------------------ End of sc-users-digest V1 #24 *****************************