Pd-list June 2002

pd-list@lists.iem.at

94 participants
144 discussions

array size
by Chris McCormick 11 Jun '02

11 Jun '02

hi, Is there a way of reading the size of a file before using soundfiler to load it into an array? i mean, like to dynamically adjust the size of the array to be able to take the whole file? or is there some better way of loading a file for playback? I want to write a nice abstracted sample player patch. Also, does anyone use a software midi sequencer to drive PD on linux? i am using shaketracker (http://www.reduz.com.ar/shaketracker/) which is pretty good, but i'm interested to hear what other people are using. Chris. ______________________________________________________ Chris McCormick - Systems Developer - PerthWeb Pty Ltd Internet Solutions for your business! Level 9/105 St George's Tc - Perth - Western Australia Ph: (08) 9226 1366 Fax: (08) 9226 1375 Visit Perth online! : www.perthweb.com.au PGP Key = http://www.perthweb.com.au/~chris/public.txt

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dynamic gui object creation?
by Andre Schmidt 11 Jun '02

11 Jun '02

hi, i just undertanded how to build dynamicly (thnx CK) in PD, but... (win2k, pd0.35-23) when this works: [obj 30 10 toggle 10 1 1t-s 1t-r empty 0 0 0 10 1 2 3 0( (makes a toggle with "all" properties set) and this don't: [obj 10 10 vslider 32 64 1 32 1s-s 1s-r empty 0 0 0 10 1 2 3 0( (makes a slider but no properties set)(am i missing something?) is there any comprehensive info on dynamicly building and setting properties toggles,slider...etc. ? (creation arguments would fit my needs 4 now) thnx -andre ps. dyntest02.pd is if i had a typo in this mail...

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[OSX] is it my keyboard ??
by ydegoyon＠free.fr 11 Jun '02

11 Jun '02

hi again, miller, i tried test26 and got the same result : the alt, int parameter passed to objects is always 0 . . whatever modifier i press, i tried <alt> <apple> <ctrl> .. . sorry, yves/

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Varying a "send" destination
by Joseph Zitt 11 Jun '02

11 Jun '02

I'm writing a patch in which a MIDI keyboard controls a series of pitch-shifters.For example, pressing the middle C key would open up the pitch shifter 61-shift, with the relative volume of its output set by the velocity of the "note in" message. It seems to me that the easiest way to do this, if possible, would be to have each pitch-shifter fed by a different receive object. Thus, a notein with note 61, velocity 64, and channel 1 would send the message "64" to the receive named "61-receive". Ideally, this would require having a message inlet change the destination of a send object. It would be something like (and I know this doesn't work) "send $1-receive $2", where $1 was the note and $2 was the velocity. Can something akin to this be done? I've tried different ways without success, checked the various docs, and even tried to read the source code to the send object (which I admit not comprehending at all). Thanks for any clues. -- | josephzitt(a)josephzitt.com http://www.josephzitt.com/ | | http://www.metatronpress.com/jzitt/ http://www.mp3.com/josephzitt/ | | == New book: Surprise Me with Beauty: the Music of Human Systems == | | Comma / Gray Code Silence: the John Cage Discussion List |

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Re: [PD-announce] (OT) OSX 10. **?
by Thomas Grill 11 Jun '02

11 Jun '02

am 11.06.2002 0:39 Uhr schrieb shreeswifty unter ppagano(a)bellsouth.net: > what version of OSX is current? > I have OSX 10.0.3 and i think that i need at least 10.1 to proceed to boot > pd OSX? > Since OSX is a linux derivative is there an OS X that is freely > downloadable? > I searched the apple site but only found upgrades _from 10.1 > Am i out of luck ? When i heard about an upgrade possibility from 10.0 to 10.1 i took a blank CDR and went to the local Apple shop. They copied me the (german) upgrade CD for free. I don't know if that is still possible, but it's worth a try. all the best, Thomas

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[ppagano@bellsouth.net: (OT) OSX 10. **?]
by Miller Puckette 11 Jun '02

11 Jun '02

Sorry, yes, you do need OSX 10.1 (I assume later versions are also OK). I think you have to go buy it, you can't get it for free any way I know of. cheers Miller ----- Forwarded message from shreeswifty <ppagano(a)bellsouth.net> ----- From: "shreeswifty" <ppagano(a)bellsouth.net> To: <msp(a)ucsd.edu>, <pd-announce(a)iem.kug.ac.at> Subject: (OT) OSX 10. **? Date: Mon, 10 Jun 2002 18:39:48 -0400 X-Priority: 3 X-MSMail-Priority: Normal X-Mailer: Microsoft Outlook Express 5.00.2615.200 X-MimeOLE: Produced By Microsoft MimeOLE V5.00.2615.200 what version of OSX is current? I have OSX 10.0.3 and i think that i need at least 10.1 to proceed to boot pd OSX? Since OSX is a linux derivative is there an OS X that is freely downloadable? I searched the apple site but only found upgrades _from 10.1 Am i out of luck ? Pat Pagano, Director South East Just Intonation Society http://www.screwmusicforever.com/SHREESWIFT/ ----- Original Message ----- From: Miller Puckette <mpuckett(a)man104-1.ucsd.edu> To: <pd-announce(a)iem.kug.ac.at> Sent: Monday, June 10, 2002 5:51 PM Subject: [PD-announce] pd 0.35 test 26 for Mac OSX > Hi all, > I've compiled pd 0.35 test 26 for Mac OSX and put it on the usual, > > http://crca.ucsd.edu/~msp/software.html > > Seems to work OK, but if you have no audio input devices configured, you have > to specify "-noadc" for the audio output to work. > > cheers > Miller > > _______________________________________________ > PD-announce mailing list > PD-announce(a)iem.kug.ac.at > http://iem.kug.ac.at/cgi-bin/mailman/listinfo/pd-announce ----- End forwarded message -----

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{newbie} help with connecting envelopes and sequencers, metatables
by booey chewy 10 Jun '02

10 Jun '02

I have been having trouble figuring out how to connect sequencers to envelopes (ie trigger them). I have looked through the "adsr" and other examples under envelopes in the docs. The sequencers I have been trying to mess with are textfile qlist and tabread or was it tablist I can't remember it is the one under analogue sequencer in the docs. with more focus: (1) at what point does an envelope intersect with the oscillator? Sometimes I have seen it at *~ other times it is elsewhere. (2) where and how does the sequencer trigger the envelopes. Secondly, is it possible to create 2nd-order or metalists? What I have in mind is to have a series independent sequencers (ie tabread or whatever)and then create macrostructures by higher-order "sequencers" which trigger and read off the first order lists in a specified sequential order. thanks for entertaining the questions of a newbie Todd __________________________________________________________________ Gesendet von Yahoo! Mail - http://mail.yahoo.de Yahoo! prÃ¤sentiert als offizieller Sponsor das FuÃball-Highlight des Jahres: - http://www.FIFAworldcup.com

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hide arrayname?
by sme 10 Jun '02

10 Jun '02

hi list is there a possibility not to display the name of an array, which usually appears on the left side of the graphwindow? marius.

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[PD]Peformance!
by Rory Walsh 10 Jun '02

10 Jun '02

If anyone's interested EAR are holding a concert in the Project Arets centre, Dublin on Tuesday night. I will be using PD in my piece 'oneak' for Recorder and Live Electronics if anyone's interested! Hope to see ya there! EAR ElectroAcoustic Revue 11/06 Concert Programme Victor Lazzarini The Trane Thing, for tenor saxophone and computer(custom built software) Barbara Dunne Brain on a Train, for three voices Rory Walsh onaek, for recorder and computer(PD) Ian Brabazon Fathom, for video Riet Bobbaers Strings Entwined, for guitar and tape Ian Brabazon Intrada, for dancer and computer(MAX/MSP) INTERVAL Riet Bobbaers CantiÃ±a, for voice, tape and computer(AudioMulch) Rory Walsh piece.orc, for cello and computer(csound) John Nugent The PGP, for tape Victor Lazzarini Trois PoÃ©mes de Paul Ãluard, for voice and tape David Stalling Traffic, for tenor saxophone, french horn, cello, bass and tape This concert shines light on a number of different perspectives of contemporary music. From the cult of intensity in John ColtraneÂs music, to which The Trane Thing is an hommage, to the use of concrÃ¨te sources in Traffic, a tribute, perhaps, to the soundscape of our capital city. It is of course one of the many attributes of modern art to try and connect us with what happens (or has happened) around us. Ian BrabazonÂs Fathom, tries to tell a tale that is too familiar to many of us. In his own words, Âin the floods of 2000, the machine lay half a fathom under the waterÂ. Storytelling is also another aspect of the pieces presented in this concert. Stories of the workplace, perhaps, in CantiÃ±a (The Refectory), where a slightly paranoid employee cannot get to grips with the sonic reality around him. Stories of a journey, an internal one, in Barbara DunneÂs Brain on a Train. Stories to be enacted, mini-dramas, written by the surrealist poet Paul Ãluard, in Trois PoÃ©mes. Above all, this concert is about sound and the enjoyment of its nuances and textures. Something that can be appreciated in tape pieces such as The PGP, with its layers of synthesized sound, and piece.orc, where clouds of computer-processed envelope velvet-like tunes from a solitary cello. Other instrument-machine duets such as that one are also the main focus of two other pieces, onik and Strings Entwined. Sometimes competitive, sometimes collaborative, the relationship between instrumental and electronic sound is always musically compelling, when carefully set up. EAR is Paula Phelan: recorder Cyrille Laurens: tenor saxophone Cathal OMadagain: french horn, voice Barbara Dunne: voice David Stalling: voice Stefan Gaelens: guitar Lioba Petrie: violoncello Dan Bodwell: double bass Meadhbh McManus, dancer Rory Walsh, Ian Brabazon, Victor Lazzarini: live electronics, sound John Nugent, Michael Vallely: stage crew David Stalling: lighting design Barbara Dunne: executive producer __________________________________________________ Do You Yahoo!? Everything you'll ever need on one web page from News and Sport to Email and Music Charts http://uk.my.yahoo.com

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tips
by Chris McCormick 10 Jun '02

10 Jun '02

Hi, In playing around with PD, i'm finding that the patches i'm designing are coming across sounding too pure and clean. Does anyone have any tips for adding some kind of random crustiness to sounds? To get sounds that detune in an authentic analogue style, and filters which distort slightly at the low end etc. I'm trying things out like modulating with brown noise etc. which is working fairly well, but I thought that maybe someone else is into the same aesthetic, and could give me some tips. Feel free to reply off list if this is not the appropriate forum for this kind of discussion. Regards, Chris. ______________________________________________________ Chris McCormick - Systems Developer - PerthWeb Pty Ltd Internet Solutions for your business! Level 9/105 St George's Tc - Perth - Western Australia Ph: (08) 9226 1366 Fax: (08) 9226 1375 Visit Perth online! : www.perthweb.com.au PGP Key = http://www.perthweb.com.au/~chris/public.txt

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Pd-list June 2002