From: owner-sc-users-digest@lists.io.com (sc-users-digest) To: sc-users-digest@lists.io.com Subject: sc-users-digest V1 #327 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 Friday, July 20 2001 Volume 01 : Number 327 ---------------------------------------------------------------------- Date: Thu, 19 Jul 2001 12:46:12 +0200 From: Jesper El=?ISO-8859-1?B?6Q==?=n <---@---.---> Subject: Feedback FM Hi! Can someone help me on how to do one osc feedback FM as in Roades page 245. ( // 1 oscilator feedback FM with comb Synth.dualScope({ var index, freq, modulator; freq = MouseY.kr(800, 100); index = MouseX.kr(0, 24); modulator = SinOsc.ar(freq, 0, freq * index); CombN.ar(SinOsc.ar(freq + modulator, 0, 0.2), 100.reciprocal, freq.reciprocal, 0.01); }, duration: 0.02) ) This seems wrong. Also 2 osc feedback FM but I guess if I have 1 osc then it is easy to do 2 osc. Jesper ------------------------------ Date: Thu, 19 Jul 2001 14:03:47 +0100 From: "fabrice mogini" <---@---.---> Subject: Re: Dictionary There is a way to do that for sure but I didn't bother because what I wrote in the first place in SC doesn't take account of bars at all. I could actually write some code to searh for a complete bar (sum of durations up to a value) could be an idea, then I would isolate each bar and put it between brackets (I think that's what finale wants). This means that I should already know the time signature (but I don't yet). I can only use the Finale command-line plugin for a specific bar so I won't enter all of the music in one go! I have as well to face the challenge of entering tuplets: 4T3c4,4d4,4g4 the"T3" means three crochets in the duration of 1 quarter (4). The problem is that I can only write it once for the three notes so it is difficult to automatise the process by associating a certain duration value to the sign T3, or T5... So altogether, it is difficult to have all of the conversion automated but so far, I have already saved hours of notation by hand (eh,I mean mouse) Cheers Fabrice Mogini - ---------- >From: David Cottle <---@---.---> >To: >Subject: Re: Dictionary >Date: Wed, Jul 18, 2001, 2:38 pm > > 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: Thu, 19 Jul 2001 09:17:35 -0600 From: David Cottle <---@---.---> Subject: SC -> Notation (was Dictinoary) > There is a way to do that for sure but I didn't bother > because what I wrote in the first place in SC doesn't I guess I need to know more about how you are composing to be of much help. Can Finale transcribe music in real time? (Sorry for my ignorance, but Finale has never been worth my time. I use another package.) Could you have SC play MIDI and have another computer read the music? The package I use has published the data structures, so you can often modify their files directly. This might work. Every since I've been composing with computers I've watched for the completion of the cycle from my idea to the notated score. SC is about as close as I've come, but it still doesn't notate. I asked earlier if there were plans to support NIFF, but I'm guessing there isn't. I imagine someone could write a plugin for it (SC3). I heard there was a text to NIFF converter out there somewhere. - -- ><><><><><><><><><><><> David Cottle, computer music, contra, cottle@cerlsoundgroup.org "This obsession with old music, tends to make all music listening safe and unadventurous since it deals so largely in the works of the accepted masters. Filling our halls with familiar sounds induces a sense of security in our audiences; they are gradually losing all need to exercise freely their own musical judgement." ‹ Copland ------------------------------ Date: Thu, 19 Jul 2001 10:33:08 -0500 From: James McCartney <---@---.---> Subject: Re: SC -> Notation (was Dictinoary) on 7/19/01 10:17 AM, David Cottle at cottle@cerlsoundgroup.org wrote: > I asked earlier if there > were plans to support NIFF, but I'm guessing there isn't. I imagine someone > could write a plugin for it (SC3). Would not have to be a plug-in. File should work. - --- james mccartney james@audiosynth.com SuperCollider - a real time synthesis programming language for the PowerMac. ------------------------------ Date: Thu, 19 Jul 2001 10:04:37 -0600 From: David Cottle <---@---.---> Subject: Re: SC -> Notation (was Dictinoary) > on 7/19/01 10:17 AM, David Cottle at cottle@cerlsoundgroup.org wrote: > >> I asked earlier if there >> were plans to support NIFF, but I'm guessing there isn't. I imagine someone >> could write a plugin for it (SC3). > > Would not have to be a plug-in. File should work. So I need to learn NIFF data structures? I was afraid of that. - -- ><><><><><><><><><><><> David Cottle, computer music, contra, cottle@cerlsoundgroup.org "Backward composition is when one imagines a musical event, then goes about describing the circumstances and means necessary to produce that event. Forward composition is describing a set of circumstances and means for an event and discovering the resulting sound. The difference is political." ‹Author unknown ------------------------------ Date: Thu, 19 Jul 2001 13:36:01 -0400 From: christian adam hresko <---@---.---> Subject: Re: [OT] tibook was Re: new G4s Jem Finer wrote: > > 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 but with dual processor 800 machines, no need to worry about CPU. apple has you covered. errrr... yeah. yes, it's retarded that they removed the 1/8" jack from all machines. maybe it's an evil plan they have with the telephone companies so that people get discouraged when they try to use the internet as 'free long distance' via microphone and speakers... cheers, christian ------------------------------ Date: Thu, 19 Jul 2001 11:17:03 -0700 From: jr@xs4all.nl (joel ryan) Subject: disk reas in task After checking out discussions of async I/O it seems that there is just about only one way short of directly fiddling with semaphores to do a disk read (eg presets) from within a running synth and that is to do it from a Task. It also seems that Crucial's TaskIfPlaying does the job, no? I couldn't see how how his tasks get deleted after the async work is completed. Dont Tasks hang around once they are started? Though mostly I have been encouraged to read disk files at init time rather than from running synth it would be nice to be able to use the disk for preset maintenance. Any good or bad experiences? jryan - -- - -=-=-=-=---=-=-=-=-===-----=-==-=-=-====-- Joel Ryan STEIM :: Ballett Frankfurt :: Institute of Sonology Achtergracht 19, 1017WL Amsterdam +31 (20) 624-3886 +31 (20) 626-4262 fax http://www.frankfurt-ballett.de/joel.html http://www.steim.nl ------------------------------ Date: Thu, 19 Jul 2001 20:18:43 +0100 From: "fabrice mogini" <---@---.---> Subject: Re: SC -> Notation (was Dictinoary) It is possible to import MIDI files in Finale I have done it before and it is the easiest. I had at the time Midi files I had done with a MC50 Roland sequencer. With SC I have two problems: _First I don't really know how to convert SC data into standard MIDI file. _Second I used SC to generate weird duration values (Pgeom for instance) which would be difficult to transcribe as I didn't specify in SC what time signatures I use anyway. In SC, as you know, you can actually create, even after event, new durations without having to put them into a frame such as a bar... (This is what I do using Pbind). So finale would get the data but wouldn't know if 3 notes are for instance a triplet or three quavers because it won't know what my time signature is. Fabrice - ---------- >From: David Cottle <---@---.---> >To: >Subject: SC -> Notation (was Dictinoary) >Date: Thu, Jul 19, 2001, 4:17 pm > >> There is a way to do that for sure but I didn't bother >> because what I wrote in the first place in SC doesn't > > I guess I need to know more about how you are composing to be of much help. > Can Finale transcribe music in real time? (Sorry for my ignorance, but > Finale has never been worth my time. I use another package.) Could you have > SC play MIDI and have another computer read the music? The package I use has > published the data structures, so you can often modify their files directly. > This might work. > > Every since I've been composing with computers I've watched for the > completion of the cycle from my idea to the notated score. SC is about as > close as I've come, but it still doesn't notate. I asked earlier if there > were plans to support NIFF, but I'm guessing there isn't. I imagine someone > could write a plugin for it (SC3). > > I heard there was a text to NIFF converter out there somewhere. > > -- >><><><><><><><><><><><> > David Cottle, computer music, contra, cottle@cerlsoundgroup.org > > "This obsession with old music, tends to make all music listening safe and > unadventurous since it deals so largely in the works of the accepted > masters. Filling our halls with familiar sounds induces a sense of security > in our audiences; they are gradually losing all need to exercise freely > their own musical judgement." ‹ Copland > ------------------------------ Date: Thu, 19 Jul 2001 14:11:17 -0600 From: "David Cottle" <---@---.---> Subject: QT proportional notation (was) SC -> Notation (was Dictinoary) > It is possible to import MIDI files in Finale I have done it before > and it is the easiest. But NIFF would allow for notation conventions, not just pitch and duration, but MIDI is a step in the right direction. > _Second I used SC to generate weird duration values (Pgeom for instance) > which would be difficult to transcribe as I didn't specify in SC what time > signatures I use anyway. I've often pointed out to my students that as soon as you start working with something like SC you quickly see how narrow minded most composers are. They usually work within the frame of meter. SC (and computer assisted composition in general) quickly surpasses this narrow focus. (e.g. how many young composers even stray from even tuplets, as in 7 equal eighths in a septuplet rather than a mixture of quarters and eighths?) So the issue is notation. How do you communicate ideas generated in SC to a performer, if your goal is a performer? The answer seems complex if you assume you are stuck with traditional methods of notation. The solution is elegant and simple if you think out of the Finale box. Also, how do you incorporate the power of SC generating values on the fly into live performance? Here is an idea: Music for SC and (e.g.) violin. SC generates all the events to be played by the CPU _and_ the violin on the fly during the live performance according to the generative processes. The sounds from SC will be played through speakers, but the notes that are to be played by the violin are printed to the screen in some type of quicktime movie displaying proportional notation. The violin sight reads them. There have been two obstacles to overcome when dealing with non-metered music. The first is how to notate it. The best system so far is proportional notation. But then you have the difficulty of coordinating the performance. Each performer is looking at a section of the system with a note in the middle. How are they going to coordinate it's attack with others? The cop-out is to write mostly indeterminate ideas because you can't really coordinate them very well. The answer is a scrolling quicktime movie with an indication line down across the score (maybe three staves). All performers would watch the same QT movie and when the note on their system hits the line they play it. You could do some incredibly accurate and complex ideas with basically zero new notation conventions and zero new training on the part of the performers. They could perform it tomorrow, probably with less rehearsal than they could the convolutions of notation we now thrust upon them to get complex ideas. I have no clue how to do QT. Maybe the answer lies in the new SC3 tools? Just thinking out loud . . . - -- ><><><><><><><><><><><> David Cottle, computer music, contra, cottle@cerlsoundgroup.org "Imagination is more important than knowledge." ‹Einstein ------------------------------ Date: Thu, 19 Jul 2001 15:59:15 -0500 From: James McCartney <---@---.---> Subject: version 2 bugs I am going to release a version 2 bug fix soon. If you have a pet bug, make it known. - ------------------------------------------------------------------------- BUG FIXES and changes (incomplete list) : nested lists in OSC messages could cause crash. sched crashed with >16 events at once. copyRange weirdness when range end was too large. Radix floats removed because of bad interaction with other parsing. Syntax colorize crashed when last line was a // comment without carriage return. Writing 24 bit sound files works. " " == 1; doesn't crash - -3.wrap(0.0,4.0) returns correct answer. (inf < 33.3) returns correct answer, false. GrainTap doesn't post debug info. (Which it did if there were no free grain records to allocate). Array::series changed to have less numerical error. can return nil from OverlapTexuture or XFadeTexture instrument function. Filters have bwr changed to rq to match documentation. String::species added. Point::asPolar added. Pmul, Padd, etc. now operate as filters. Plazy added. Dictionary::choose added. - ------------------------------------------------------------------------- NOT FIXED yet : range slider exponential mapping not available. a button that removes itself causes a crash. 1 == nil; // error: Message 'performBinaryOpOnSimpleNumber' scheduling problem reported by Scott Wilson. - --- james mccartney james@audiosynth.com SuperCollider - a real time synthesis programming language for the PowerMac. ------------------------------ Date: Thu, 19 Jul 2001 14:31:02 -0700 (PDT) From: Chad Kirby <---@---.---> Subject: Re: version 2 bugs My Pet Bugs: Reading 24 bit soundfiles??? *** PanB azimuth and elevation Help file documentation is incorrect. (Input values should be in radians.) *** I don't know if you consider this a bug, but Plug doesn't behave the way I want it to in the following sort of situation: scope({ arg synth; a = Plug.ar(0,0); // init Plug to 0 synth.sched( 1, { // make the plug descend from 1 to 0.25 over 2 seconds a.source_( 1 ); a.line( 0.25, 2 ); // doesn't work // a instead ascends from 0 to 0.25 }); a }) workaround: scope({ arg synth; a = Plug.ar(0,0); synth.sched( 1, { a.source_( 1 ); synth.sched( synth.blockSize/Synth.sampleRate, {a.line(0.25, 2)} ); }); a }) ** Can't wait for the bugfix! Chad Kirby // Technical Coordinator for Digital Arts // CARTAH ckirby@u.washington.edu // 206.295.3592 ------------------------------ Date: Thu, 19 Jul 2001 17:51:40 -0500 From: James McCartney <---@---.---> Subject: channelOffset (was Re: MOTU 828) channelOffset only works with a Spawn. Otherwise you must pad with channels of silence. #a, b = Pan2.ar(...); z = Plug.ar(0.0); [z, z, a, b] In SC3 channelOffset does work because there is a Spawn at the top level. - --- james mccartney james@audiosynth.com SuperCollider - a real time synthesis programming language for the PowerMac. ------------------------------ Date: Fri, 20 Jul 2001 02:28:24 +0200 From: Paul Crabbe <---@---.---> Subject: Re: Feedback FM - --============_-1216533542==_ma============ Content-Type: text/plain; charset="us-ascii" ; format="flowed" >Hi! >Can someone help me on how to do one osc feedback FM as in Roades page 245. > Hello, ( /* hacked from a discussion between Maurizio Giri and Alberto de Campo,SCList archive, 20 Aug 2000 */ Synth.scope( { arg synth; var x, carrier ,feedback,index; synth.blockSize = 1; // blockSize of 1 sample x = 200; index = MouseX.kr(0.0982, 1.571); //freq = MouseY.kr(20,1000,'exponential'); feedback = Plug.ar(0); // prepare a plug for the phase input. carrier = SinOsc.ar(x, feedback * index , 1); // generate the output signal, then... feedback.source = carrier; // plug the output back into the phaseinput. carrier }) ) //////////// ( //two-oscillator?? ,specs page 249 Synth.scope( { arg synth; var x1,x2,output1,carrier ,feedback,index; synth.blockSize = 1; // blockSize of 1 sample index = MouseX.kr(0.0982, 1.571); x1 = 200; x2 = 200; m = 2; // second index feedback = Plug.ar(0); output1 = SinOsc.ar(x1,feedback * index , 1); feedback.source = output1; //1 carrier = SinOsc.ar(x2, output1 * m) //2 }) ) please correct me if I'm wrong... cheers Paul Crabbe, pcrabbe@club-internet.fr - --============_-1216533542==_ma============ Content-Type: text/html; charset="us-ascii" Re: Feedback FM
Hi!
Can someone help me on how to do one osc feedback FM as in Roades page 245.




Hello,
(
/*
 hacked from a discussion between Maurizio Giri and Alberto de Campo,SCList archive, 20 Aug 2000
 */
Synth.scope( { arg synth;
        var x, carrier ,feedback,index;
       synth.blockSize = 1; // blockSize of 1 sample
x = 200;
index = MouseX.kr(0.0982, 1.571);
//freq = MouseY.kr(20,1000,'exponential');

feedback = Plug.ar(0);         // prepare a plug for the phase input.

     carrier = SinOsc.ar(x,
   
                       feedback * index , 1);
                             // generate the output signal, then...

           feedback.source = carrier;    // plug the output back into the phaseinput.

       carrier
})
)
////////////

(
//two-oscillator?? ,specs page 249
Synth.scope( { arg synth;
        var x1,x2,output1,carrier ,feedback,index;
       synth.blockSize = 1; // blockSize of 1 sample
index = MouseX.kr(0.0982, 1.571);
x1 = 200;
x2 = 200;
m = 2; // second index

feedback = Plug.ar(0);        

     output1 = SinOsc.ar(x1,feedback * index , 1);
                            

          feedback.source = output1;    //1

      carrier = SinOsc.ar(x2, output1 * m)    //2
})
)
please correct me if I'm wrong...
cheers
Paul Crabbe, pcrabbe@club-internet.fr
- --============_-1216533542==_ma============-- ------------------------------ Date: Thu, 19 Jul 2001 21:06:37 -0500 From: James McCartney <---@---.---> Subject: Re: Patches SC2 : ( // early space { var a, n; var scale, octave, out; scale = [0, 2, 4, 5, 7, 9, 11]; octave = [24, 36, 48, 60, 72, 84, 96] - 3; n = 6; // number of simultaneous events a = OverlapTexture.ar({ [{ var f, x; f = (scale.choose + octave.choose).midicps; x = LPZ2.ar(LPZ2.ar( Mix.arFill(10, { var ff; ff = f * SinOsc.kr(exprand(4,6),0,0.008,1); LFSaw.ar([ff * rrand(0.99,1.01), ff * rrand(0.99,1.01)], 0.01) }) )); if (0.3.coin && (f < 1400), { x = RLPF.ar(x, SinOsc.kr(rrand(0.3,0.8),0,f*rrand(0.5,3), f * rrand(4,12)), 0.1) }); x },{ var rates; rates = XLine.kr( exprand(4,12) * [1,rrand(0.9,1.1)], exprand(4,12) * [1,rrand(0.9,1.1)], 12) * [1,-1].choose; f = LFTri.kr(exprand(0.25,0.5) * [1,-1].choose, linrand(4,30), LFSaw.kr(rates, rrand(2,16), rrand(40,120))).midicps; CombN.ar(SinOsc.ar(f, 0, 0.02), 0.3, rrand(0.15,0.3), 4) }].choose.value; }, 4, 4, n, 2); CombN.ar(a, 0.5, [0.5,0.47], 7, 1, a.reverse); }.play ) - --- james mccartney james@audiosynth.com SuperCollider - a real time synthesis programming language for the PowerMac. ------------------------------ Date: Fri, 20 Jul 2001 09:09:05 +0200 (CEST) From: Giorgio Robino <---@---.---> Subject: Re: version 2 bugs > If you have a pet bug, make it known sometime SC 2 crash when I click in the Mac menu bar; when SC crash the first time, all applications and the finder (MacOS 8.6) become instable an I have to reboot. 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: Fri, 20 Jul 2001 08:27:10 +0000 From: Jem Finer <---@---.---> Subject: Re: channelOffset (was Re: MOTU 828) on 19/7/01 22:51, James McCartney at asynth@io.com wrote: > > channelOffset only works with a Spawn. > Otherwise you must pad with channels of silence. > > #a, b = Pan2.ar(...); > z = Plug.ar(0.0); > [z, z, a, b] > > > In SC3 channelOffset does work because there is a Spawn at the top level. > > --- james mccartney james@audiosynth.com > SuperCollider - a real time synthesis programming language for the PowerMac. > > > > looking forward to that ! Jem ------------------------------ Date: Fri, 20 Jul 2001 03:42:55 -0500 From: James McCartney <---@---.---> Subject: Re: version 2 bugs on 7/20/01 2:09 AM, Giorgio Robino at giorgio.robino@mclink.it wrote: > sometime SC 2 crash when I click in the Mac menu bar;' After you have been doing anything in particular? > > when SC crash the first time, all applications and the finder (MacOS 8.6) > become instable an I have to reboot. Since the Mac's memory is unprotected, the only safe thing is to reboot after any program crashes. - --- james mccartney james@audiosynth.com SuperCollider - a real time synthesis programming language for the PowerMac. ------------------------------ Date: Fri, 20 Jul 2001 11:06:03 +0200 (CEST) From: Giorgio Robino <---@---.---> Subject: Re: version 2 bugs > > sometime SC 2 crash when I click in the Mac menu bar;' > > After you have been doing anything in particular? After some minutes of sound generation, only clicking in the menubar (otherwise SC run without problems). I not yet understood if it depend of the particular patch. I will report to you. thanks, 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: Fri, 20 Jul 2001 12:28:25 +0200 From: Julian Rohrhuber <---@---.---> Subject: Re: disk reas in task > > >Though mostly I have been encouraged to read disk files at init time >rather than from running synth >it would be nice to be able to use the disk for preset maintenance. >Any good or bad experiences? >jryan > sometimes I use Tasks to read from disk, when I want to read preset data or something similar that does not take much time to read. It only seems to work with File.readAllSomething, not with getChar or similar) here is a piece of code from the ribosome application: ButtonView.new( w, Rect.newBy(190, 292, 32, 30), "load", 0, 0, 1, 0, 'linear').action_({ if(running, { GetFileDialog({ arg ok, path; if(ok, { Task({ loadfunc.value(path) }) }) }); }, { GetFileDialog({ arg ok, path; if(ok, { loadfunc.value(path) }) }); }); }); This one always worked. I saw now that it is similar to TaskIfPlaying by Felix, which is more elegant and should be stable, too. ------------------------------ Date: Fri, 20 Jul 2001 06:37:49 -0400 (EDT) From: Matthew Rogalsky <---@---.---> Subject: Re: version 2 bugs This is not a bug report, rather a wish list item, and not a very urgent one at that, but... trying to use DiskIn with a 24 channel AIFF I got an error message saying 16 was the maximum. So I broke the AIFF into two 12 channel files and all was fine, but I wondered why the ceiling of 16. It's handy if you want to have lots of soundfiles coming off disk, to put them in a big multichannel file (much more economical than reading individual files). Actually I think the error message came from SoundFile.preload, before getting to the DiskIn bit. Besides this, I want to say thanks again to Andy Wilson for organising the SC day in London last weekend! Much fun. best matt And, here's a simple little utility I made for myself last week... http://www.appleonline.net/mrogalsky/looper.htm ------------------------------ Date: Fri, 20 Jul 2001 11:37:17 +0200 From: John Eacott <---@---.---> Subject: multichannel offering This is a multi-part message in MIME format. - --------------C9902AA7491DBF46F9591EE9 Content-Type: text/plain; charset=us-ascii; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 7bit Hi, I hope some of you may find this interesting / enjoyable / useful. I'd be very happy to receive comments about the music or programming content on or off list. Thanks, John - -- John Eacott www.informal.org www.strangeattraction.com tel. +44 (0) 20 7582 3429 - --------------C9902AA7491DBF46F9591EE9 Content-Type: application/octet-stream; x-mac-type="53495435"; x-mac-creator="53495421"; name="fruity-multichannel.sit" Content-Transfer-Encoding: base64 Content-Description: Document Content-Disposition: attachment; filename="fruity-multichannel.sit" U3R1ZmZJdCAoYykxOTk3LTE5OTggQWxhZGRpbiBTeXN0ZW1zLCBJbmMuLCBodHRwOi8vd3d3 LmFsYWRkaW5zeXMuY29tL1N0dWZmSXQvDQoaAAUQAAALmQAAAHIAAQAAAHLdig2lpVJlc2Vy dmVkpaUApaWlpQEAAEMAELd9wa23fcYFAAAAAAAAAAAAAAAAABM/pAAAFwIAAAXXAAAAAA8A ZnJ1aXR5LW11bHRpY2hhbm5lbAABQkdURVhUU0NqbQEA/////wAAAAAAAAAAAACAAAAAAAA2 TQAAKuAAAATbAAAAAA8AQsHUzKe5Lr7BXC4NstiVR92Zt1pbv6lBVWf/ayUI06VypXk0e5i0 7yV9D9D060BaaCxAH6wlGR4fBetQXhfeO8LxxxkI+PqvQZlxYvKp6waYOZfOr4uknhNz3utc fPFxep7zbVYFmvLLO5FEu+KKQm5rz7FjEQi/pOjRxBYuulRsCkAzr6ZPQQSKgL9dcO0DhkH1 bIlAMM9RgUuLuvpE7ONRrUghIwa5VBJ8rcu6qT1RtsCvqeDxUQXXr0tDQwuAxfyVX4d0/ewS HzPBY/kBIr7FScreKH8JeC7cN9Ip8ZoJ+LezLDIzYV4uAoPzvKOVDuRbcTu3agZOWvZtNpA6 nANGaRJ8+2OA2d2z8HnHmECFJGs8SxNJKCxldqTVf71mqNbOkpRoAr+F06tEitjE5do9sxEl DHVy5GQg7rFTKdgheXO/OIdq2KCTIICBH8CNObcb8oqv+WqHW3Fhkf24IBwWgIAKUoRm8sAW 3VvDknpxUHAqunpMhsHuH0qQJy5gMUR/UuuLJ2Qvrq+15lNIzcouykH5TGtiQusI8U4QLySq SfaARQMJB1tRYTWdK8bShKGZTAOoeyGBU31T1/p1xV/5cOh5jWm5MUfh+p28g9x7Cw245lrY tK2BG9XzMhjaOEoVL8J4rxNKhGDogIRtmiE7XH3OmhNcbYbctCT3UDYJOJphcHWF7kxsawOo XVPDtk1ZRpgNyeg3OHdTk3J1pDSbXb9y9FCrba3WeHTOObbws0KFlvn0tkj58V6NcWumD7hi 9516UYYJuNRJayZatM/jym9WCxp2nB+5hcv2YPS8diLm7LUBRkRlARU05u5q58YOtQ0G7jkm 2ABNLUxKtV4+0lJbFP+bSWU7fLxB1kDfJVzzpXU21jEh4oE2Zp7QfO7DaTIcaOD2kIe4drWF e8awkj+F5Oeu2NWonwwOTrF9RDYdGlZ0GBb4Mk1Cjgt72yP1OemtNOQd6Z5xEzhl+ZOgPsuP uub01uzlhcqPwv8vm78PsP4woD07+vIbhyTPnJMbf6jSCQHLmBYA8zlFySfXJXlMHmlkT5Uk W9nXW9PyXDwWFAhSTOws68cSLHJlwbVrxskrLCwhXcSzz0WYnc8D7b7rfnepiwGlSCFjSLaL XQe5Z5xAj8czUtOAw92vV4NaqAxxIJ8Ca43E7wlMph3JOjUV+wLlmaTDpmgt6PSlLQhvT+hM V3EcJnP8pSuAr6pDoMlaYpxjn5oZAsCO8bkESw/AZeJUXu9z7a9WI69t/bc1Pzg6y109fOaE 8Ywnf/HkwJTaFlTl2INKe5wo9PslYQrn+7yoTboSARIGumGcbOe+Gh8tVaesVn9tuKtaeSqL A7ULJpoz4yukCPX3TO9bcAouADcCubcomtqMgO6fVJTDd7x5tRH5nyHrEIbMC5PgEByrEC1k VtLu1RwGHMskoagjSvT1n38xtGmRrrNRDtIp/iSaLhpqlc82ndwodbiqJdpoj4KzKhMi6sQt o+WHxkmBMqC7rbvk0xCYFreBt4+edwaVUUoPu3MNlv5RJWN80aqxNVlnbe+LjWb/jaSA7kpA GsUmr6ZNw8OgiYeZc6b5ULqi+01B1jW/BSqccncwtKPmLgKeJD1xPSJLcLO/mlLqE6mp1Vbc w2JnO00lt/GFmtfXaQ3TAELB1MwtwvoTKDrDKxTAMP7/GPEQ6egIEdrhGL1FzkGPbYKrFZv/ 6pdhmBsQFycS4UFqq7z+d3hwEhS60V3IKiYzJsce/+J8r0rxr7wrpJZN3FVwuARdtV9VxmDo qZQoOTHtvFCcWMR56mbXeAEudIgPYwumhNzQxiU+VuwdbFUwKGNq17xm71Fzp/PzBeZLAoyv KHA/x4uk3NBVBjehdGfN9E/1OPYuvCOGRQSMQ+uTB56vZ6GRRe1s5BXSNMe0Zds+NSw7Vtym cP/JFuF72SN+B2i01TPjsp+JjraLJ9UYSuY2vOolUgONApQ3VDGtZnhQm0vB0ZfVBUS+4c0E 151L4xe9cCNUdl8zu4fQgK1RiThUesCnd0uWY6qdzDMfjMug6TkYkHbm8heawb/RkuDusvXA Z+hjAWXdP2KbiO0E+5WpF/T/JnoAhYPnVprTkOCXhaUq1RQX00L4HW7Z/KclUDfLu0QxSRMX PcTa7GWUnBaAwKx2JdDojZBenyZtTZNFlwW69bwJcz8kzs2xNE7nHN3IdMyoUPU+choATke2 aqQeQwvjdRZ8ZTYCHC/W5heM/NHU6GhMsBM8KIbWZ7/lI1rzdWf6E6UjnKtIGEyM+rqKKjbD k0d4UZm2jdUD3+eu0T+O1IANp5sjEHFQCbQZgBB8IEw4Dgogaar4K31GCzGxhUFgf9bx6iP3 xC0+WThkoTgqGt7Udnj+7rUyslH+D5w1UqLeOoBHwqICwRgpwpG/bKIjj94QvSWNKeQxI4ly 1M2+1KaKXuS8IuCwRmTVp0qtaNWI4rNIj7xSugcV2vhBf00f5CzRw/OXrD3EhfzqDTW4g+6Z ou2IzXQ1HwxuwdjHMdoRnsks0vByb6LSZpC2UQwzQMKnEip0xBhnB3S1AjLm8HGfcAeiKL9q CerOs+hMb/qD+UUrmOIGvy5zEXG1/iW48ENZXOZHnjHkeicYSvWepi6wNYYLm5pTS7WKdjDQ wKEdH/MbvPHomILWHh7oUQxp9oX2qYhGiur3o85vAax5l60n/uOo+LEG2PFcOYYVyZ7G0W9r xxKGPeSDM8cZJmooavYt/PTKVgTBKJmuboMpI/3cPVjoNu2rfS0/lhIUgT/nrn6IMXbW3TTR khb+hUzQbXuyKVDBHXuO5mKLCggf9rThhLGdWkJGKRvj3KrVMBoYb587JD9FeNYV0N/iAqSf gRs3zk4yn9P8YF0p3apK4M4q8QaiLjWd8dcFVJglTlqa+16K47ookHnZ/1QxR9bW9sDhZlBM 2IFoVpns2Xf9JR9sS64vFoo0pNp+vuhMVPi5qqQPOBdxUV5rnFi+exa3uNLPld5skLut/tXS QkbQyz0Yfk2EJwJx5qAb/S6uaf6ZtJdb/WEdHB3/5VZn8S41PqRDTWJ0MO9Nzg6w6LGZu8wN c0BkOFuWfRZTSMhq1JCMidyuemNqTljC9v3MjTCIX8AEedoSzxi0yqJmjO3mrPtOEGzN5aC4 b8iFPw7QgeKB4H1jCatkQJe3z16+v9a4zXohEIlwqT+o8NWHViFGlvqJYwb3KCe6ENHprQTF Qm5Z/a7bn090VBmMO/E8lo5yJBXl81xgBAz+VbGXjNmB4jPoD0dRmCNE3xmrJuP2OLJTlO+m j7o5ihur7n0Y2v4tkXgpVJXpcKMIa41ZL4RvddlosO4j2bNyXPGIvV1Rwb5x1vuad9JK1O/X gIze7eJWpy1Vh+H1qamRm/e5NnipuTxTWI5ID45FmO/GBkp4Rz6YKQNFDDgmoIXqvdZzNITa mnpUOYH2+zg2TLL+jDQpE26ZWnYo5SMAG41RgXZuckkY/bPZsJ7gGZOLDPIImdzEd+XQgYNK nU5Kc/S4U1wtKYs6IdpiD45RsCh/aDyUVgBDWa5PEFC44JWtW+4o4x+sTUQHclsD9OpGgLpD xfyPqTwuPT13V1N5dQXr6NRHo9IWxyNMhLt+uO3dBoRHvyAI7bKweEHmdfxy8Eh28VRbIjA= - --------------C9902AA7491DBF46F9591EE9-- ------------------------------ Date: Fri, 20 Jul 2001 07:15:08 -0500 From: James McCartney <---@---.---> Subject: Re: version 2 bugs on 7/20/01 5:37 AM, Matthew Rogalsky at mrogalsky@mail.wesleyan.edu wrote: > trying to use DiskIn with a 24 channel AIFF I got an > error message saying 16 was the maximum. Well it is trivial to raise it to 32. At this point I'll be lazy and not make it dynamic, which is also better for efficiency. - --- james mccartney james@audiosynth.com SuperCollider - a real time synthesis programming language for the PowerMac. ------------------------------ Date: Fri, 20 Jul 2001 13:36:19 +0200 From: John Eacott <---@---.---> Subject: Re: version 2 bugs My pet bug: When I wake my G4 after letting it go to sleep SC won't find the Digi001. I have to restart. j - -- John Eacott www.informal.org www.strangeattraction.com tel. +44 (0) 20 7582 3429 ------------------------------ Date: Fri, 20 Jul 2001 21:46:34 +0900 From: "kevin parks" <---@---.---> Subject: Re: [OT] tibook was Re: new G4s Yes. The iBooks are crippled with their slow SCSI bus and RAM limitations, etc. The Tibook is expensive and only a minor improvement in performance, so maybe now is a good time to pick up a pismo G3 400 (or 500). They are a bit bigger and clunkier, but excellent machines. You can find used ones and even new in the box ones at blowout prices. I am guessing that they are almost all snapped up by now though. The pismo is a sold powerbook at less than 1/2 the price of a Tibook. Has 2 firewire and 2 USB ports and a PCMIA slot, plus DVD and you can put 2 batteries in it for almost 10 hours of work, though SC would eat that up in probably 7 or 8. - -- On Thu, 19 Jul 2001 10:13:55 Joachim Goßmann wrote: > >>> 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 > > > > Get 250 color business cards for FREE! http://businesscards.lycos.com/vp/fastpath/ ------------------------------ Date: Fri, 20 Jul 2001 08:53:01 -0400 (EDT) From: "Ronald J. Kuivila" <---@---.---> Subject: Re: version 2 bugs Hi James, There are problems comparing with inf, when it is the receipient of the compare message. RJK On Thu, 19 Jul 2001, James McCartney wrote: > > I am going to release a version 2 bug fix soon. > If you have a pet bug, make it known. > > ------------------------------------------------------------------------- > BUG FIXES and changes (incomplete list) : > > nested lists in OSC messages could cause crash. > > sched crashed with >16 events at once. > > copyRange weirdness when range end was too large. > > Radix floats removed because of bad interaction with other parsing. > > Syntax colorize crashed when last line was a // comment without carriage > > return. > > Writing 24 bit sound files works. > > " " == 1; doesn't crash > > -3.wrap(0.0,4.0) returns correct answer. > > (inf < 33.3) returns correct answer, false. > > GrainTap doesn't post debug info. (Which it did if there were no free grain > records to allocate). > > Array::series changed to have less numerical error. > > can return nil from OverlapTexuture or XFadeTexture instrument function. > > Filters have bwr changed to rq to match documentation. > > String::species added. > > Point::asPolar added. > > Pmul, Padd, etc. now operate as filters. > > Plazy added. > > Dictionary::choose added. > > ------------------------------------------------------------------------- > NOT FIXED yet : > > range slider exponential mapping not available. > > a button that removes itself causes a crash. > > 1 == nil; // error: Message 'performBinaryOpOnSimpleNumber' > > scheduling problem reported by Scott Wilson. > > > --- james mccartney james@audiosynth.com > SuperCollider - a real time synthesis programming language for the PowerMac. > > > > ------------------------------ Date: Fri, 20 Jul 2001 08:59:58 -0400 (EDT) From: "Ronald J. Kuivila" <---@---.---> Subject: Re: channelOffset (was Re: MOTU 828) How about including the SC and Node classes in the basic library? RJK On Thu, 19 Jul 2001, James McCartney wrote: > > channelOffset only works with a Spawn. > Otherwise you must pad with channels of silence. > > #a, b = Pan2.ar(...); > z = Plug.ar(0.0); > [z, z, a, b] > > > In SC3 channelOffset does work because there is a Spawn at the top level. > > --- james mccartney james@audiosynth.com > SuperCollider - a real time synthesis programming language for the PowerMac. > > > > ------------------------------ Date: Fri, 20 Jul 2001 09:36:48 -0500 From: James McCartney <---@---.---> Subject: Re: version 2 bugs on 7/20/01 6:36 AM, John Eacott at john@informal.org wrote: > My pet bug: > When I wake my G4 after letting it go to sleep SC won't find the Digi001. I > have to restart. I don't think this is an SC bug. If ASIO tells me its there then I put it in the list, otherwise I don't. - --- james mccartney james@audiosynth.com SuperCollider - a real time synthesis programming language for the PowerMac. ------------------------------ End of sc-users-digest V1 #327 ******************************