From: owner-sc-users-digest@lists.io.com (sc-users-digest) To: sc-users-digest@lists.io.com Subject: sc-users-digest V1 #326 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, July 19 2001 Volume 01 : Number 326 ---------------------------------------------------------------------- Date: Tue, 17 Jul 2001 22:53:28 EDT From: DSPGuy@aol.com Subject: Re: Low latency for active noise control >> >> I'm thinking about doing some active noise control work, and I'd like to >> use SC if possible. In many applications, this is a kind of feedback >> control problem in which loop delay must be very small in order to >> maintain stability. >> >> Is there hope? >> >> If so, what are the lowest-latency I/O devices available? >> >> What techniques are available in SC to minimize latency? >> >> Jerry >> > >I wouldn't think any desktop computer solution would work very well for >that. You'd really need to have dedicated hardware. > >(A photo of me using active noise cancelling headphones in an airplane : >http://www.audiosynth.com/autobio/moonie.jpg ) Who is the manufacturer of the headphones in the picture? Jerry Bauck ------------------------------ Date: Tue, 17 Jul 2001 22:19:15 -0500 From: James McCartney <---@---.---> Subject: Re: Low latency for active noise control on 7/17/01 9:53 PM, DSPGuy@aol.com at DSPGuy@aol.com wrote: > > Who is the manufacturer of the headphones in the picture? > > Jerry Bauck > Sorry, I don't know. - --- james mccartney ------------------------------ Date: Tue, 17 Jul 2001 23:56:19 -0400 From: christian adam hresko <---@---.---> Subject: Re: Low latency for active noise control DSPGuy@aol.com wrote: > >> > >> I'm thinking about doing some active noise control work, and I'd like to > >> use SC if possible. In many applications, this is a kind of feedback > >> control problem in which loop delay must be very small in order to > >> maintain stability. > >> > >> Is there hope? > >> > >> If so, what are the lowest-latency I/O devices available? > >> > >> What techniques are available in SC to minimize latency? > >> > >> Jerry > >> > > > >I wouldn't think any desktop computer solution would work very well for > >that. You'd really need to have dedicated hardware. > > > >(A photo of me using active noise cancelling headphones in an airplane : > >http://www.audiosynth.com/autobio/moonie.jpg ) > > Who is the manufacturer of the headphones in the picture? > > Jerry Bauck the manufacture is LightSPEED Aviation. (i was copiloting the airplane...) http://www.anrheadsets.com/ cheers, christian ------------------------------ Date: Wed, 18 Jul 2001 02:05:13 -0400 From: christian adam hresko <---@---.---> Subject: strokeFill vs. fill i'm going over the SC3 plugins, and the source for Pen seems to indicate (unless i'm misreading...) that strokeFill and fill do the same thing??? (this proved true with the last GUI example posted regarding my 'denseness' about the 2D slider...) is this correct or incorrect? if it is correct, why have two methods within the same class that do the same thing? (which leads me to believe that i'm incorrect...) cheers, christian.bin ------------------------------ Date: Wed, 18 Jul 2001 09:27:04 +0200 (CEST) From: Giorgio Robino <---@---.---> Subject: Re: Patches Thanks James for th previous patch: it's beatiful! // my first modest SC patch: // The original is from a David Cottle Tutorial. ( // by Giorgio Robino // it's a parameters exageration with random values, // not yet enough impredictable and chaotic ;-). // Synth.play({ var bass, pattern, trig, out; //Below is the pattern used by the sequencer below. Numbers are //midi pitches. pattern = Pseq([ //Do the following sequence infinite number of times Prand([ //Choose from the following once nil, //No output Pseq(#[48, 41, 43, 31]), //Sequence Pseq(#[24, 31, 36, 43, 48, 55]) //Sequence ]), //Do the following sequence next Pseq([ 60, Prand(#[63, 65]), 67, Prand(#[70, 72, 74]) ], { rrand(1, 64) }), Prand(#[74, 75, 77, 79, 81], { rrand(1, 64) }) ], inf); trig = Impulse.kr(16); //Trigger events at this rate out = Array.fill(2, { //Duplicate the patch and store in out RLPF.ar( //Filter LFSaw.ar( //Audio source signal //Sequencer, which uses the pattern above freq: Sequencer.kr( pattern.asStream, trig ).midicps, //Envelope mul: Decay2.kr(trig, 30.0.rand, 30.0.rand) ), //Frequency cutoff; random values between midi pitches //74 and 146 LFNoise1.kr(1, 40, 110).midicps, 0.015 + 0.001.rand ); }); //Reverb 8.do({ out = AllpassN.ar(out, 0.4, [0.4.rand, 0.4.rand], 4) }); out = Limiter.ar(out, 0.8, 1); }) ) // // The original by David Cottle Tutorial, // Synth.scope({ var bass, pattern, trig, out; //Below is the pattern used by the sequencer below. Numbers are //midi pitches. pattern = Pseq([ //Do the following sequence infinite number of times Prand([ //Choose from the following once nil, //No output Pseq(#[48, 41, 43, 31]), //Sequence Pseq(#[24, 31, 36, 43, 48, 55]) //Sequence ]), //Do the following sequence next Pseq([ 60, Prand(#[63, 65]), 67, Prand(#[70, 72, 74]) ], { rrand(2, 5) }), //Finally, choose from the following and repeat between 3 and 9 times Prand(#[74, 75, 77, 79, 81], { rrand(3, 9) }) ], inf); trig = Impulse.kr(8); //Trigger events at this rate out = Array.fill(2, { //Duplicate the patch and store in out RLPF.ar( //Filter LFSaw.ar( //Audio source signal //Sequencer, which uses the pattern above freq: Sequencer.kr( pattern.asStream, trig ).midicps, //Envelope mul: Decay2.kr(trig, 0.1, 0.4, 0.25) ), //Frequency cutoff; random values between midi pitches //74 and 146 LFNoise1.kr(1, 36, 110).midicps, 0.1 ); }); //Reverb 4.do({ out = AllpassN.ar(out, 0.05, [0.05.rand, 0.05.rand], 4) }); out }) - --- Giorgio Robino http://www.giorgiorobino.com , mailto:giorgio.robino@giorgiorobino.com - --- DEEP LISTENINGS "ascolti profondi, the new music magazine" (rivista trimestrale di cultura musicale), vendita per solo per corrispondenza. Rivolgersi a Gianluigi Gasparetti, mailto:deeplist@tin.it - --- SUPERCOLLIDER is an Object Oriented Programming Environment for real-time audio and video processing. It is one of the finest and most versatile environments for signal processing and especially for creating music applications of all kinds, such as complete compositions, interactive performances, installations etc. It runs on Macintosh Power PC computers. The author of SuperCollider is James McCartney. He maintains a site at: http://www.audiosynth.com ------------------------------ Date: Wed, 18 Jul 2001 09:10:03 -0400 From: mary lee roberts <---@---.---> Subject: MOTU 828 I apologize if this topic has been covered already on this list, I am new to the list. We are working with a MOTU 828 and James McCartney very kindly pointed out to me how to get SC generated data to come out of the fiber optical port of this interface. I was wondering if anybody has a solution on how to get data into the MOTU 828 (an eventually into SC) through the fiber optical port. Also, we were wondering about S/PDIF I/O as well for the MOTU 828. Thanks, Mary ------------------------------ Date: Wed, 18 Jul 2001 07:38:09 -0600 From: David Cottle <---@---.---> Subject: Re: Dictionary > I used Both David Cottle's & James's solutions to > convert SC data to the Finale format (score editor). > David, I found out that Finale would print every time the sign for a > natural note, even if there is no sharp or flat in the same bar before. > So I guess I will have to get reed of those by hand in Finale... There is probably a way to keep track of whether or not you have used an accidental in a bar and printing e.g. CN if you have used one and C if you haven't. How does Finale do bar lines? Is it brackets? - -- ><><><><><><><><><><><> David Cottle, computer music, contra, cottle@cerlsoundgroup.org "The impression of chaos comes simply from the fact that the sounds and relationships are unfamiliar." Roger Sessions ------------------------------ Date: Wed, 18 Jul 2001 07:41:20 -0600 From: David Cottle <---@---.---> Subject: Re: Patches > // my first modest SC patch: > // The original is from a David Cottle Tutorial. Yikes! Give credit where credit is due. I did use this patch in my text, but it is from James' examples folder. I should be clearer about it in the text. - -- ><><><><><><><><><><><> David Cottle, computer music, contra, cottle@cerlsoundgroup.org "Shall we deny the existence of that which we do not understand? If we do, we would want to keep an iron bedstead to measure every person according to our own measurements and dimensions; and if persons were too long we would cut them off, and if too short draw them out. But we should discard this principle, and our motto should be, we will let every one believe as he pleases and follow out the conclusions of his own mind . . ." ­Brigham Young ------------------------------ Date: Wed, 18 Jul 2001 08:41:30 -0500 From: James McCartney <---@---.---> Subject: Re: newby question - triggering from ip sig on 7/17/01 12:57 PM, Andy Wilson at andy@lshift.net wrote: > what would be the bare bones code to get an input signal to trigger a spawn > event which played, let's say, a sine wave at a frequency and amplitude > controlled by the ip sig ?? > > sorry if this is a FAQ but I can't find an appropriate example in the dox. Something like this: input = AudioIn.ar(1); #freq, hasFreq = Pitch.kr(input); amp = Amplitude.kr(input); TSpawn.ar( { SinOsc.ar(freq, 0, Line.kr(0.2, 0, 0.2)) }, 2, trig: amp > threshold, mul: amp); - --- james mccartney james@audiosynth.com SuperCollider - a real time synthesis programming language for the PowerMac. ------------------------------ Date: Wed, 18 Jul 2001 07:43:33 -0600 From: David Cottle <---@---.---> Subject: Re: Patches > Thanks James for th previous patch: it's beatiful! > > // my first modest SC patch: > // The original is from a David Cottle Tutorial. Very nice. - -- ><><><><><><><><><><><> David Cottle, computer music, contra, cottle@cerlsoundgroup.org "Šmechanical reproduction [of music], which after all is imperfect simply through the fact of being mechanical." ‹Roger Sessions ------------------------------ Date: Wed, 18 Jul 2001 14:56:13 +0100 From: Andy Wilson <---@---.---> Subject: OT: London Supercollider Day the day of talks and performances we held here in sunny london last saturday was a great success. over thirty people attended and the response was overwhelmingly positive - so much so that it is likely that we will repeat the event sometime soon. anyway, thanks to the speakers - john eacott, nick collins, ben milstein, matt rogalsky, jem finer and fabrice mogini. personal hilights included matt's radio pieces, made by sampling the silences between words, and jem's fabulous guitar processes...... lovely stuff. obviously I'll post news of any future events on the list. - -- { andy wilson << managing director << LShift << www.lshift.net } { www.andyw.com && www.faust-pages.com && www.directorxml.com } ------------------------------ Date: Wed, 18 Jul 2001 16:36:14 +0200 (CEST) From: Giorgio Robino <---@---.---> Subject: Re: Patches > > // my first modest SC patch: > > // The original is from a David Cottle Tutorial. > > Yikes! Give credit where credit is due. I did use this patch > in my text, but > it is from James' examples folder. I should be clearer about > it in the text. Sorry James, David, I mistaked, anyway I invite all sc users to propose patches ;-), for example anyone may suggest a patch-idea for a choir (I mea a human voices choir, maybe microtonal a la Ligeti) ? Giorgio - --- Giorgio Robino http://www.giorgiorobino.com , mailto:giorgio.robino@giorgiorobino.com - --- DEEP LISTENINGS "ascolti profondi, the new music magazine" (rivista trimestrale di cultura musicale), vendita per solo per corrispondenza. Rivolgersi a Gianluigi Gasparetti, mailto:deeplist@tin.it - --- SUPERCOLLIDER is an Object Oriented Programming Environment for real-time audio and video processing. It is one of the finest and most versatile environments for signal processing and especially for creating music applications of all kinds, such as complete compositions, interactive performances, installations etc. It runs on Macintosh Power PC computers. The author of SuperCollider is James McCartney. He maintains a site at: http://www.audiosynth.com ------------------------------ Date: Wed, 18 Jul 2001 08:56:09 -0700 (PDT) From: Chad Kirby <---@---.---> Subject: Re: MOTU 828 First of all, you have to enable the optical input using the MOTU 828 control panel. You can set it to ADAT format (8 channels) or TOSLink (stereo). In SC, the 828's first 8 inputs are analog, the 2d 8 optical (if you have your card set to ADAT format for optical input), the last 2 S/PDIF. So... AudioIn.ar([1,2,3,4,5,6,7,8]) // all the analog inputs AudioIn.ar([9,10,11,12,13,14,15,16]) // all the optical inputs AudioIn.ar([17,18]) // the spdif inputs You can muck with the inputRouting, but I'd just confuse both of us if I tried to explain that. Chad Kirby // Technical Coordinator for Digital Arts // CARTAH ckirby@u.washington.edu // 206.295.3592 ________ I have seen the future and it doesn't work. Robert Fulford On Wed, 18 Jul 2001 at 09:10, mary lee roberts wrote: > I apologize if this topic has been covered already on this list, I am > new to the list. > > We are working with a MOTU 828 and James McCartney very kindly pointed > out to me how to get SC generated data to come out of the fiber optical > port of this interface. I was wondering if anybody has a solution on > how to get data into the MOTU 828 (an eventually into SC) through the > fiber optical port. Also, we were wondering about S/PDIF I/O as well > for the MOTU 828. > > Thanks, Mary > > ------------------------------ Date: Wed, 18 Jul 2001 12:52:58 -0400 From: Andrei <---@---.---> Subject: Re: newby question - triggering from ip sig ( a = SignalBank.new.readAll(":Sounds:SoundFiles:",["kick1","snare2","hit2","crunchkick","hit4","hit5","hit7","snare9","snare7","hat2","noise2"]); b = {arg attack,decay,envShape,index,rate,tempo,pan; var ampEnv; ampEnv = EnvGen.kr(Env.perc(attack,decay,1,envShape)); Pan2.ar(Mix.ar(PlayBank.ar(a,index,rate,0,1,1,ampEnv)),pan) }; c = Pbind( \ugenFunc,b, \attack,0, \decay,0.3, \envShape,1, \index,Pfunc({[0,3].choose}), \rate,1, \tempo,1.416, \pan,Prand([-0.60,0,0.60],inf), \dur,Pseq([0.5],1) ); d = Pbind( \ugenFunc,b, \attack,0, \decay,0.3, \envShape,1, \index,Pfunc({[1,2,4,5,6,7,8].choose}), \rate,1, \tempo,1.416, \pan,Prand([-0.60,0,0.60],inf), \dur,Pseq([0.25,0.25],1) ); e = Pbind( \ugenFunc,b, \attack,0, \decay,0.3, \envShape,1, \index,Pfunc({[0,1,2,3,4,5,6,7,8].choose}), \rate,1, \tempo,1.416, \pan,Prand([-0.60,0,0.60],inf), \dur,Pseq([0.125,0.25,0.125],1) ); f = Pbind( \ugenFunc,b, \attack,0, \decay,0.3, \envShape,1, \index,Pfunc({[0,1,2,3,4,5,6,7,8].choose}), \rate,1, \tempo,1.416, \pan,Prand([-0.60,0,0.60],inf), \dur,Pseq([0.25],1) ); g = Pbind( \ugenFunc,b, \attack,0, \decay,0.3, \envShape,1, \index,Pfunc({[0,1,2,3,4,5,6,7,8].choose}), \rate,1, \tempo,1.416, \pan,Prand([-0.60,0,0.60],inf), \dur,Pseq([0.25,0.125,0.125],1) ); h = Pbind( \ugenFunc,b, \attack,0, \decay,0.3, \envShape,1, \index,Pfunc({[0,1,2,3,4,5,6,7,8].choose}), \rate,1, \tempo,1.416, \pan,0, \dur,Pseq([0.333,0.334,0.333],1) ); Pxrand([d,e,f,g],inf).play ) ------------------------------ Date: Wed, 18 Jul 2001 12:57:58 -0400 From: Andrei <---@---.---> Subject: Re: newby question - triggering from ip sig Sorry about that. I accidentally sent that message. Andrei On Wed, 18 Jul 2001, Andrei wrote: > (a = SignalBank.new.readAll(":Sounds:SoundFiles:",["kick1","snare2","hit2","crunchkick","hit4","hit5","hit7","snare9","snare7","hat2","noise2"]);b = {arg attack,decay,envShape,index,rate,tempo,pan; var ampEnv; ampEnv = EnvGen.kr(Env.perc(attack,decay,1,envShape)); Pan2.ar(Mix.ar(PlayBank.ar(a,index,rate,0,1,1,ampEnv)),pan) }; c = Pbind( \ugenFunc,b, \attack,0, \decay,0.3, \envShape,1, \index,Pfunc({[0,3].choose}), \rate,1, \tempo,1.416, \pan,Prand([-0.60,0,0.60],inf), \dur,Pseq([0.5],1) );d = Pbind( \ugenFunc,b, \attack,0, \decay,0.3, \envShape,1, \index,Pfunc({[1,2,4,5,6,7,8].choose}), \rate,1, \tempo,1.416, \pan,Prand([-0.60,0,0.60],inf), \dur,Pseq([0.25,0.25],1) );e = Pbind( \ugenFunc,b, \attack,0, \decay,0.3, \envShape,1, \index,Pfunc({[0,1,2,3,4,5,6,7,8].choose}), \rate,1, \tempo,1.416, \pan,Prand([-0.60,0,0.60],inf), \dur,Pseq([0.125,0.25,0.125],1) );f = Pbind( \ugenFunc,b, \attack,0, \decay,0.3, \envShape,1, \inde! > ! > x,Pfunc({[0,1,2,3,4,5,6,7,8].choose}), \rate,1, \tempo,1.416, \pan,Prand([-0.60,0,0.60],inf), \dur,Pseq([0.25],1) ); g = Pbind( \ugenFunc,b, \attack,0, \decay,0.3, \envShape,1, \index,Pfunc({[0,1,2,3,4,5,6,7,8].choose}), \rate,1, \tempo,1.416, \pan,Prand([-0.60,0,0.60],inf), \dur,Pseq([0.25,0.125,0.125],1) );h = Pbind( \ugenFunc,b, \attack,0, \decay,0.3, \envShape,1, \index,Pfunc({[0,1,2,3,4,5,6,7,8].choose}), \rate,1, \tempo,1.416, \pan,0, \dur,Pseq([0.333,0.334,0.333],1) );Pxrand([d,e,f,g],inf).play) > > ------------------------------ Date: Wed, 18 Jul 2001 11:56:04 -0500 From: matrix6k <---@---.---> Subject: Re: Patches This is a multi-part message in MIME format. - --------------2DD29CC22892A5DDCEB452A6 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit hi- this one's an obvious rip from one of james' examples, but i listened to it for 15 min. straight last night... the synth line isn't all that cool, but what the comb does to it IS. erm, where's my jupiter-6 ? - -m Giorgio Robino wrote: > > Thanks James for th previous patch: it's beatiful! > > // my first modest SC patch: > // The original is from a David Cottle Tutorial. > > ( > // by Giorgio Robino > // it's a parameters exageration with random values, > // not yet enough impredictable and chaotic ;-). > // > Synth.play({ > var bass, pattern, trig, out; > //Below is the pattern used by the sequencer below. Numbers are > //midi pitches. > > pattern = Pseq([ //Do the following sequence infinite number of times > Prand([ //Choose from the following once > nil, //No output > Pseq(#[48, 41, 43, 31]), //Sequence > Pseq(#[24, 31, 36, 43, 48, 55]) //Sequence > ]), > > //Do the following sequence next > Pseq([ 60, Prand(#[63, 65]), 67, Prand(#[70, 72, 74]) ], { rrand(1, 64) }), > Prand(#[74, 75, 77, 79, 81], { rrand(1, 64) }) > ], inf); > > trig = Impulse.kr(16); //Trigger events at this rate > > out = Array.fill(2, { //Duplicate the patch and store in out > RLPF.ar( //Filter > LFSaw.ar( > //Audio source signal > //Sequencer, which uses the pattern above > freq: Sequencer.kr( pattern.asStream, trig ).midicps, > //Envelope > mul: Decay2.kr(trig, 30.0.rand, 30.0.rand) > ), > > //Frequency cutoff; random values between midi pitches > //74 and 146 > LFNoise1.kr(1, 40, 110).midicps, > 0.015 + 0.001.rand > > ); > }); > > //Reverb > 8.do({ out = AllpassN.ar(out, 0.4, [0.4.rand, 0.4.rand], 4) }); > out = Limiter.ar(out, 0.8, 1); > }) > ) > > // > // The original by David Cottle Tutorial, > // > Synth.scope({ > var bass, pattern, trig, out; > //Below is the pattern used by the sequencer below. Numbers are > //midi pitches. > pattern = Pseq([ //Do the following sequence infinite number of times > Prand([ //Choose from the following once > nil, //No output > Pseq(#[48, 41, 43, 31]), //Sequence > Pseq(#[24, 31, 36, 43, 48, 55]) //Sequence > ]), > //Do the following sequence next > Pseq([ 60, Prand(#[63, 65]), 67, Prand(#[70, 72, 74]) ], { rrand(2, 5) }), > //Finally, choose from the following and repeat between 3 and 9 times > Prand(#[74, 75, 77, 79, 81], { rrand(3, 9) }) > ], inf); > > trig = Impulse.kr(8); //Trigger events at this rate > out = Array.fill(2, { //Duplicate the patch and store in out > RLPF.ar( //Filter > LFSaw.ar( //Audio source signal > //Sequencer, which uses the pattern above > freq: Sequencer.kr( pattern.asStream, trig ).midicps, > //Envelope > mul: Decay2.kr(trig, 0.1, 0.4, 0.25) > ), > //Frequency cutoff; random values between midi pitches > //74 and 146 > LFNoise1.kr(1, 36, 110).midicps, > 0.1 > ); > }); > //Reverb > 4.do({ out = AllpassN.ar(out, 0.05, [0.05.rand, 0.05.rand], 4) }); > out > }) > > --- > Giorgio Robino > http://www.giorgiorobino.com , mailto:giorgio.robino@giorgiorobino.com > --- > DEEP LISTENINGS > "ascolti profondi, the new music magazine" (rivista trimestrale di cultura musicale), vendita per solo per corrispondenza. Rivolgersi a Gianluigi Gasparetti, mailto:deeplist@tin.it > --- > SUPERCOLLIDER > is an Object Oriented Programming Environment for real-time audio and video processing. It is one of the finest and most versatile environments for signal processing and especially for creating music applications of all kinds, such as complete compositions, interactive performances, installations etc. It runs on Macintosh Power PC computers. The author of SuperCollider is James McCartney. He maintains a site at: http://www.audiosynth.com - --------------2DD29CC22892A5DDCEB452A6 Content-Type: text/plain; charset=us-ascii; x-mac-type="54455854"; x-mac-creator="53436A6D"; name="monopulse" Content-Transfer-Encoding: 7bit Content-Description: Unknown Document Content-Disposition: inline; filename="monopulse" ( var pattern; pattern = #[28, 36, 46, 35, 20, 34, 36, 36]; f = { arg octave, clockRate, pwmrate, fltrate; RLPF.ar( LFPulse.ar( Lag.kr( Sequencer.kr( `((pattern + (12 * octave)+0.2.rand).midicps), // sequencer pattern Impulse.kr(clockRate) // sequencer trigger ), 0.2 // Lag time coefficient ), SinOsc.kr(pwmrate, 1pi.rand, 0.3, 0.35), // pulse width modulator 0.1 // pulse amplitude ), SinOsc.kr(fltrate, 2pi.rand, 3000, 3100), // cutoff freq LFO 0.05 ) }; Synth.play({ g = [f.value(1,8,0.031,0.01), f.value(1,8,0.031,0.09), f.value(1,8,0.031,0.012), f.value(1,8,0.031,0.011), f.value(0,8,0.031,0.043), f.value(0,8,0.031,0.044), f.value(1,8,0.031,0.013), f.value(1,8,0.031,0.045) ]; z = 0.4 * (CombN.ar(g, 1, [0.5, 0.75, 0.2, 0.125, 1, 2], 20) + g.reverse); }); ) - --------------2DD29CC22892A5DDCEB452A6-- _________________________________________________________ Do You Yahoo!? Get your free @yahoo.com address at http://mail.yahoo.com ------------------------------ Date: Wed, 18 Jul 2001 15:28:55 -0400 From: Lee Azzarello <---@---.---> Subject: Re: OT -mac expo NY meeting... *****I've been having problems with my email. Disregard this message if you have already received it.***** on 7/16/01 5:13 PM, christian adam hresko at godpup@ix.netcom.com wrote: > tomonori > me > a.k.a felix > josh > lee I'm in Ohio until Saturday. Vacation. Tell me all about it. - -------------------- - -l[e^2] *old { ^this.shouldNotImplement(thisMethod) } http://eds.org/~lee ------------------------------ Date: Wed, 18 Jul 2001 20:36:14 -0400 From: christian adam hresko <---@---.---> Subject: new G4s has everyone had a look at the new G4 towers? (dual processor 800 MHz or single processor 867 MHz) wow, that's some massive processing. with a gaping hole in the front for what appears to be a 'heat port.' following in apple's 'we really don't care' tradition though, there is NO longer an 1/8" mic input. at leat the titanium PowerBook isn't obsolete yet. cool stuff though. cheers, christian ------------------------------ Date: Wed, 18 Jul 2001 21:01:19 EDT From: JoJoBuBu@aol.com Subject: Re: new G4s >has everyone had a look at the new G4 towers? (dual >processor 800 MHz or >single processor 867 MHz) >wow, that's some massive processing. with a gaping >hole in the front >for what appears to be a 'heat port.' Damn thats AWESOME! Does Supercollider support duel processors? Or would be supercollider need to be optimized for duel processors? Just curious, Andy >following in apple's 'we really don't care' tradition >though, there is >NO longer an 1/8" mic input. >at leat the titanium PowerBook isn't obsolete yet. >cool stuff though. >cheers, >christian ------------------------------ Date: Wed, 18 Jul 2001 23:45:50 -0400 From: andrei@world.std.com Subject: output to disk How can I make this patch write output to disk while playing ? ( a = SignalBank.new.readAll(":Sounds:SoundFiles:",["kick1","snare2","hit2","crunchkick","hit4","hit5","hit7","snare9","snare7","hat2","noise2"]); b = {arg attack,decay,envShape,index,rate,tempo,pan; var ampEnv; ampEnv = EnvGen.kr(Env.perc(attack,decay,1,envShape)); Pan2.ar(Mix.ar(PlayBank.ar(a,index,rate,0,1,1,ampEnv)),pan) }; c = Pbind( \ugenFunc,b, \attack,0, \decay,0.3, \envShape,1, \index,Pfunc({[1,2,4,5,6,7,8].choose}), \rate,1, \tempo,1.416, \pan,Prand([-0.60,0,0.60],inf), \dur,Pseq([0.25,0.25],1) ); d = Pbind( \ugenFunc,b, \attack,0, \decay,0.3, \envShape,1, \index,Pfunc({[0,1,2,3,4,5,6,7,8].choose}), \rate,1, \tempo,1.416, \pan,Prand([-0.60,0,0.60],inf), \dur,Pseq([0.125,0.25,0.125],1) ); e = Pbind( \ugenFunc,b, \attack,0, \decay,0.3, \envShape,1, \index,Pfunc({[0,1,2,3,4,5,6,7,8].choose}), \rate,1, \tempo,1.416, \pan,Prand([-0.60,0,0.60],inf), \dur,Pseq([0.25],1) ); f = Pbind( \ugenFunc,b, \attack,0, \decay,0.3, \envShape,1, \index,Pfunc({[0,1,2,3,4,5,6,7,8].choose}), \rate,1, \tempo,1.416, \pan,Prand([-0.60,0,0.60],inf), \dur,Pseq([0.25,0.125,0.125],1) ); Pxrand([c,d,e,f],inf).play ) Thanks, Andrei ------------------------------ Date: Thu, 19 Jul 2001 00:51:06 -0400 From: Ketty Nez <---@---.---> Subject: please unsubscribe please unsubscribe me for now Thank you. ------------------------------ Date: Thu, 19 Jul 2001 15:54:09 +1000 From: newton armstrong <---@---.---> Subject: Re: output to disk andrei@world.std.com wrote: > How can I make this patch write output to disk while playing ? You could change this line: Pxrand([c,d,e,f],inf).play to: Synth.record({ Pxrand([c,d,e,f],inf).asSpawn }, nil, "output") ------------------------------ Date: Thu, 19 Jul 2001 10:13:55 +0200 From: Joachim Go=?ISO-8859-1?B?3w==?=mann <---@---.---> Subject: [OT] tibook was Re: new G4s >> following in apple's 'we really don't care' tradition >though, there is >> NO longer an 1/8" mic input. >> at leat the titanium PowerBook isn't obsolete yet. Actually, the momentary titanium PB doesn't have an audio/mic-in either (apart from a crappy built-in-mic). If you take away the essential and important plus in processing power, it has almost nothing but disadvantages compared to the last generation of Powerbooks: - -The display, though a little larger on the sides, has a lot less contrast - -The built-in speakers much worse than in the old PB (if you need that telephone voice effect, they might do a good job) - -Only one firewire port - -The cooling fan goes off much more often - -The position of the Ethernet port makes it difficult to reach the latch of the plug when it's plugged in - -The paint comes off (most embarassing: you get a mirror imaged "PowerBook G4" headline above your keyboard) - - the top border of the screen is less broad than the sides. etc... But of course, my S.C. programs run with a lot less CPU load, at around 1/2 - - 2/3 compared to the G3/333 I used before. I hope I didn't bore anyone. Greetings, jo ------------------------------ Date: Thu, 19 Jul 2001 04:28:03 -0400 From: christian adam hresko <---@---.---> Subject: Re: [OT] tibook was Re: new G4s Joachim Goßmann wrote: > > > > Actually, the momentary titanium PB doesn't have an audio/mic-in either > (apart from a crappy built-in-mic). > If you take away the essential and important plus in processing power, it > has almost nothing but disadvantages compared to the last generation of > Powerbooks: > > -The display, though a little larger on the sides, has a lot less contrast > -The built-in speakers much worse than in the old PB (if you need that > telephone voice effect, they might do a good job) > -Only one firewire port > -The cooling fan goes off much more often > -The position of the Ethernet port makes it difficult to reach the latch of > the plug when it's plugged in > -The paint comes off (most embarassing: you get a mirror imaged "PowerBook > G4" headline above your keyboard) > - the top border of the screen is less broad than the sides. > etc... > > But of course, my S.C. programs run with a lot less CPU load, at around 1/2 > - 2/3 compared to the G3/333 I used before. > > I hope I didn't bore anyone. > > Greetings, > > jo i have a G3 Blue&White 450 and a G4 PowerBook 500. (no, i'm not rich...) i actually like my titanium aside from the lack of a built in microphone. yes, the built in speakers suck. but i never relied on the built in speakers for any computer i've ever owned. firewire hubs are now available, so that's not really a problem. my cooling fan hardly ever goes on. actually, all the problems people are having with their titaniums just haven't cropped up on my machine. maybe i got lucky. yes, the ethernet latch is a pain in the ass. inserting an ethernet cable always feels like you're breaking something also. i haven't had the paint come all the way off yet. just traces of it. but yeah, that kinda sucks. i don't mind the construction of the screen. hasn't caused any problems yet. the computer kicks my G3's ass. but now the new G4s are really making my G3 obsolete. oh well... cheers, christian ------------------------------ Date: Thu, 19 Jul 2001 04:55:08 -0400 (EDT) From: koonce@Princeton.EDU (Paul C Koonce (koonce@Princeton.EDU)) Subject: Digi 001 and ASIO DigiDesign Direct I/O (V 5.0) I'm interested in using SuperCollider with the Digi 001. I'm aware of the Cubase ASIO DigiDesign Direct I/O Driver that should in theory make it possible, but I don't have a 5.1 Digi 001 system to try it out on and am considering getting one. Does SC work on it? Thanks, Paul Koonce ------------------------------ Date: Thu, 19 Jul 2001 05:22:00 -0400 From: christian adam hresko <---@---.---> Subject: Re: Digi 001 and ASIO DigiDesign Direct I/O (V 5.0) "Paul C Koonce (koonce@Princeton.EDU)" wrote: > I'm interested in using SuperCollider with the Digi 001. I'm aware of the > Cubase ASIO DigiDesign Direct I/O Driver that should in theory make it > possible, but I don't have a 5.1 Digi 001 system to try it out on and am > considering getting one. Does SC work on it? > > Thanks, > Paul Koonce back when i was in college (a whole 3 months ago...) we had a Digi 001 on one of the computers in our 'media lab.' i used SC on that machine and the Digi and SC worked great. no problems at all. cheers, christian ------------------------------ Date: Thu, 19 Jul 2001 02:25:49 -0700 (PDT) From: tomonori yamasaki <---@---.---> Subject: Re: OT -mac expo NY meeting... there's pretty much nothing new there, except the apple's (but hey, they're still hot -let's wait for it to cool down little! 1/2 size of L2 cache that runs at same speed of CPU... stink.) Is this normal for NY expo? New version, bug fix, update, everything is "comming sooon" 1. MIDIMAN guy said USB 2/2, 4/4, 8/8 drivers will be updated soon, this will work well with Nord Modular (heavy load) 2. emagic's audio interface looks cool: 2in 6out 24bit small and cheap. 3. people it's hard to get a job here too. damn. oh AI sucks what's up with the alien? Final Fantacy sucks too, it looks like they couldn't see the knob labeled "PAN" for voice -EVERYBODY SPEAK IN THE CENTER INTO YOUR BRAIN .(effects are good. Orchestra(horns) is annoying.) Beam UP! tomonori yamasaki ------------------------------ Date: Thu, 19 Jul 2001 05:33:46 -0400 From: christian adam hresko <---@---.---> Subject: Re: OT -mac expo NY meeting... tomonori yamasaki wrote: > there's pretty much nothing new there, except the apple's (but hey, > they're still hot -let's wait for it to cool down little! 1/2 size of > L2 cache that runs at same speed of CPU... stink.) Is this normal for NY > expo? New version, bug fix, update, everything is "comming sooon" i think this is normal for apple. how do you like the NY weather? the east coast needs a really big dehumidifier. sticky. > > > 1. MIDIMAN guy said USB 2/2, 4/4, 8/8 drivers will be updated soon, this > will work well with Nord Modular (heavy load) > 2. emagic's audio interface looks cool: 2in 6out 24bit small and cheap. how cheap? > > 3. people it's hard to get a job here too. damn. that was one reason i was going to attend the expo. but i just decided to look online. (me working for apple... oh how the world would be a different place. hehe...) go to college. pay back loans. have a hard time finding a job because of a lack of experience. it's the american dream. persistence. > > > oh AI sucks what's up with the alien? yeah, that's what i said. but the alien isn't an alien. it's a robot. spielberg (or is it speilberg?), for some reason, made the robots (2000 years from now) look like the aliens from close encounters of the third kind. that kinda through me off. and the movie was about 40 minutes too long. > Final Fantacy sucks too, well that's no good. i guess i'll pass on that one. > it looks > like they couldn't see the knob labeled "PAN" for voice -EVERYBODY > SPEAK IN THE CENTER INTO YOUR BRAIN .(effects are good. > Orchestra(horns) is annoying.) > > Beam UP! > tomonori yamasaki okay, i should be getting some sleep. this is getting ridiculous. cheers, christian ------------------------------ Date: Thu, 19 Jul 2001 10:39:09 +0000 From: Jem Finer <---@---.---> Subject: Re: [OT] tibook was Re: new G4s > firewire hubs are now available, so that's not really a problem. It is a huge problem ! They eat your cpu and then you might as well go back to a slower machine WITH built in audio input - trade off between a bit of quality and cpu power. Jem ------------------------------ Date: Thu, 19 Jul 2001 10:39:09 +0000 From: Jem Finer <---@---.---> Subject: Re: MOTU 828 > This message is in MIME format. Since your mail reader does not understand this format, some or all of this message may not be legible. - --MS_Mac_OE_3078384056_275364_MIME_Part Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable on 18/7/01 13:10, mary lee roberts at mlrobert@Princeton.EDU wrote: > I apologize if this topic has been covered already on this list, I am > new to the list. >=20 > We are working with a MOTU 828 and James McCartney very kindly pointed > out to me how to get SC generated data to come out of the fiber optical > port of this interface. I was wondering if anybody has a solution on > how to get data into the MOTU 828 (an eventually into SC) through the > fiber optical port. Also, we were wondering about S/PDIF I/O as well > for the MOTU 828. >=20 > Thanks, Mary >=20 >=20 I have this method in Main.sc super.hardwareSetup; false.trace; //MOTU 828 if (Synth.hardwareName =3D=3D 'MOTU 828', { =20 Synth.setOutputRouting([ 1, 2, 3, 4, 5, 6, 7, 8,9,10,11,12,13,14,15,16]); =20 Synth.setInputRouting([1, 2, 3, 4, 5, 6, 7, 8,9,10,11,12,13,14,15,16]); },{ Synth.normalRouting; }); 1 - 8 are analogue, 9 - 16 are optical - adding 17 & 18 to the arrays will = I imagine give spdif. Input is easy : AudioIn.ar([9,10]) for example will listen to optical 1 & 2= . Output is more of a problem - I asked about this but have had no reply : reprinted below : on 10/7/01 14:23, James McCartney at asynth@io.com wrote: > mysynth.channelOffset =3D channel; >=20 > The synth's outputs will be put onto a contiguous set of channels beginni= ng > at the offset. > The default channel offset is zero, meaning that the synth's first channe= l > goes onto the output's first channel. ok - then if I write : ( // analog bubbles Synth.play({ thisSynth.channelOffset =3D 2; f =3D LFSaw.kr(0.4, 24, LFSaw.kr([8,7.23], 3, 80)).midicps; // glissando function CombN.ar(SinOsc.ar(f, 0, 0.04), 0.2, 0.2, 4) // echoing sine wave })) should the output not come out of channels 3 & 4 - that is what I expected but it comes out of 1 & 2 as per usual. HOWEVER this may be because in the Synth help file it says : "channelOffset - a channel offset used if the Synth is installed in a Spawn unit generator. This is only really called from within a Spawn's newEventFunction." So is this the case - it only works in a Spawn (which I did get to work actually) ? If so why ? ALSO - to get this to work in a Spawn it is necessary to increase the numChannels parameter. So to get audio out of the 8 optical channels it has to be 16, to get audio out of analog 3 & 4 it has to be 4 etc. In the Spawn channel offset example the following work (using the outputRouting below) synth.channelOffset =3D 2.rand; // channel zero or one at random : numChannel= s =3D 2 synth.channelOffset =3D 8 + 8.rand;// optical 1 - 8 at random : numChannels =3D 16 synth.channelOffset =3D 16.rand;// analog 1 - 8 or optical 1 - 8 at random : numChannels =3D 16=20 When Playbuf is involved in the Spawn it crashes because of these extra channels. eg (=80 ERROR: SoundFile says there are 2 channels, but DiskOut has 4nputs.) Can this be right ? I hope I'm doing something stupid ! the Main routing I am using is : hardwareSetup { super.hardwareSetup; false.trace; //MOTU 828 if (Synth.hardwareName =3D=3D 'MOTU 828', { =20 Synth.setOutputRouting([ 1, 2, 3, 4, 5, 6, 7, 8,9,10,11,12,13,14,15,16]); Synth.setInputRouting([1, 2, 3, 4, 5, 6, 7, 8,1, 2, 3, 4, 5, 6, 7, 8]); },{ Synth.normalRouting; }); AudioIn works perfectly across 8 channels of analogue and 8 of digital CPU DRAIN ? using the 828 and running multiple Instruments from lib 2 dodgy things happen : a) there is a horrible click every time I open add a new instrument b) I seem to be able to run far fewer Instruments in parallel before SC "crashes" - infact it doesn't so much crash as stop. Not quite a freeze as = I can still quit. - --MS_Mac_OE_3078384056_275364_MIME_Part Content-type: text/html; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable Re: MOTU 828 on 18/7/01 13:10, mary lee roberts at mlrobert@Princeton.EDU wrote:

> I apologize if this topic has been covered already on this list, I am<= BR> > new to the list.
>
> We are working with a MOTU 828 and James McCartney very kindly pointed=
> out to me how to get SC generated data to come out of the fiber optica= l
> port of this interface.  I was wondering if anybody has a solutio= n on
> how to get data into the MOTU 828 (an eventually into SC) through the<= BR> > fiber optical port.  Also, we were wondering about S/PDIF I/O as = well
> for the MOTU 828.
>
> Thanks, Mary
>
>


I have this method in Main.sc


   super.hardwareSetup;
       false.trace;
       //MOTU 828
       if (Synth.hardwareName =3D=3D 'MOTU = 828', {
           
           Synth.se= tOutputRouting([ 1, 2, 3, 4, 5, 6, 7, 8,9,10,11,12,13,14,15,16]);
           
           Synth.se= tInputRouting([1, 2, 3, 4, 5, 6, 7, 8,9,10,11,12,13,14,15,16]);
       },{
           Synth.no= rmalRouting;
       });
1 - 8 are analogue, 9 - 16 are optical - adding 17 & 18 to the arrays w= ill I imagine give spdif.

Input is easy : AudioIn.ar([9,10]) for example will listen to optical 1 &am= p; 2.

Output is more of a problem - I asked about this but have had no reply : re= printed below :

on 10/7/01 14:23, James McCartney at asynth@io= .com wrote:

> mysynth.channelOffset =3D channel;
>
> The synth's outputs will be put onto a contiguous set of channels begi= nning
> at the offset.
> The default channel offset is zero, meaning that the synth's first cha= nnel
> goes onto the output's first channel.


ok - then if I write :

(
// analog bubbles
Synth.play({

thisSynth.channelOffset =3D 2;
   f =3D LFSaw.kr(0.4, 24, LFSaw.kr([8,7.23], 3, 80)).midicps= ; // glissando function
   CombN.ar(SinOsc.ar(f, 0, 0.04), 0.2, 0.2, 4) // echoing = sine wave
}))


should the output not come out of channels 3 & 4 - that is what I expec= ted but it comes out of 1 & 2 as per usual.



HOWEVER this may be because in the Synth help file it says :

"channelOffset - a channel offset used if the Synth is installed in a = Spawn unit generator. This is only
really called from within a Spawn's newEventFunction."

So is this the case  - it only works in a Spawn (which I did get to wo= rk actually) ?

If so why ?

ALSO - to get this to work in a Spawn it is necessary to increase the numCh= annels parameter. So to get audio out of the 8 optical channels it has to be= 16, to get audio out of analog 3 & 4 it has to be 4 etc.

In the Spawn channel offset example the following work (using the outputRou= ting below)

synth.channelOffset =3D 2.rand; // channel zero or one at random : numChannel= s =3D 2
synth.channelOffset =3D 8 + 8.rand;// optical 1 - 8 at random : numChannels =3D= 16
synth.channelOffset =3D 16.rand;//  analog 1 - 8 or optical 1 - 8 at ran= dom : numChannels =3D 16



When Playbuf is involved in the Spawn it crashes because of these extra cha= nnels.

eg (=80 ERROR: SoundFile says there are 2 channels, but DiskOut has  4np= uts.)

Can this be right ? I hope I'm doing something stupid !

the Main routing I am using is :

hardwareSetup {
       super.hardwareSetup;
       false.trace;
       //MOTU 828
       if (Synth.hardwareName =3D=3D 'MOTU = 828', {
           
Synth.setOutputRouting([ 1, 2, 3, 4, 5, 6, 7, 8,9,10,11,12,13,14,15,16]); Synth.setInputRouting([1, 2, 3, 4, 5, 6, 7, 8,1, 2, 3, 4, 5, 6, 7, 8]);
       },{
           Synth.no= rmalRouting;
       });

AudioIn works perfectly across 8 channels of analogue and 8 of digital


CPU DRAIN ?

using the 828 and running multiple Instruments from lib 2 dodgy things happ= en :

a) there is a horrible click every time I open add a new instrument

b) I seem to be able to run far fewer Instruments in parallel before SC &qu= ot;crashes" - infact it doesn't so much crash as stop. Not quite a free= ze as I can still quit.

 - --MS_Mac_OE_3078384056_275364_MIME_Part-- ------------------------------ End of sc-users-digest V1 #326 ******************************