Pd-list March 2019

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67 participants
71 discussions

Help with reverb design and vanilla's abstractions ([rev1~]/[rev2~]/[rev3~])
by Alexandre Torres Porres 12 Mar '19

12 Mar '19

Hi, I've read miller's book and I've always wanted to know a bit more about reverbs. I also want to better explain these examples to my students. One thing I wonder is about the choice of delay lengths for the early reflections and also for the recirculating delay lines. They seem quite arbitrary, right? All I could make of it is that these numbers are just broken down so they don't become multiples of each other, resulting in a rather complex mesh of reflection times. But also, it seems that a "room size" parameter can be controlled by the size of the delay lines, right? Anyway, I'd appreciate if I could learn more about these abstractions and also some cool references for study (such as "digital reverb modelling for dummies"). cheers

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compile essentiaRT lib in linux 64
by Kosmas Giannoutakis 12 Mar '19

12 Mar '19

Hi, is it possible to compile the essentiaRT<https://github.com/GiantSteps/essentiaRT> library in 64 bit linux? If yes can someone provide instructions? Thanks, Kosmas

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puredata.info account to upload lib to deken
by cyrille henry 12 Mar '19

12 Mar '19

Hello, I would like to have an access to puredata.info in order to upload my old - but still very usefull - library to deken. I ask for this access via the online form but did not get any response after few days. I just knock here hoping that the human behind the validation procedure will see this mail and validate my account. thanks and cheers Cyrille

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Pd as a plugin: concept shift with JACK freewheel
by Lorenzo Sutton 12 Mar '19

12 Mar '19

Longish post inspired by the recent discussion about 'Pd as a VST plugin'. TL:DR: better use a modular JACK (freewheel) approach compared to more 'static' Pd as a plugin approach. I think that on systems with JACK Audio [1] (Linux mostly, but available on other platforms, albeit maybe not so common nor supported), it would be great to have solid JACK Freewheel [2] support instead of trying to embed Pd as a plugin in rather cumbersome, diverse and (probably) unstable, ways. Actually JACK freewheel *does* work with Pd on Linux (audio only) with the [jackclock] external by Nicolas Bouillot [3] also used to interact with jack transport, although currently a bit cumbersome if interacting with other applications. What's the big deal? Freewheel is 'faster than realtime', meaning that when activated audio will be generated as fast as the CPU can. The key use case is generating audio to a file at the same time avoiding things such as xruns or other problems due to real-time operation. If you've ever used Ardour [4] and exported audio, it is using JACK freewheel (and in fact you see the playhead moving forward faster than realtime as it processes audio...). Now imagine instead of having Pd as an LV2, VST or whatever plugin in Ardour, you have your patch(es) open in usual Pd, connect tracks or busses to Pd, reconnect [dac~] to Arour's master et voilà :) - when you need to export you just run with freewhel mode. Indeed, I _was_ already able to connect through JACK an Ardour audio output to Pd with some simple audio processing, and then, after activating freewheel mode with [jackclock], 'record' the output to a .wav file through both jack_capture and [writesf~] internally (the former more interesting for this use case). So, just to shift points of view, IMHO strong JACK (maybe including JACK midi) and JACK freewheel support is somewhat more desirable in Pd compared to support for the many plugin types and platforms. If one thinks about it this is more in line with Pd's modular and dataflow approach, also in the long run might be more resilient to plugin format changes, license changes (see VST problems), as well as updates in Pd itself. Lorenzo. PS. Disclosure: this is not my first post advocating a freewheel approach in the (Linux) audio ecosystem compared to monolithic do-it-all audio software, but just as a user :) [5]. [1] Jack Audio [2] Jack Freewheel in the JACK API: http://jackaudio.org/api/group__ClientCallbacks.html#gae797e2cde20faecb9be5… See also this interesting section in Louigi Verona's 'Linux Audio workshop': https://louigiverona.com/?page=projects&s=writings&t=philosophy&a=philosoph… [3] https://github.com/nicobou/pd-jackclock [4] https://ardour.org/ [5] See e.g http://linux-audio.4202.n7.nabble.com/JACK-Freewheel-mode-thoughts-td102077… and https://www.mail-archive.com/rosegarden-user@lists.sourceforge.net/msg02632…

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[Pd] OT: floating-point note numbers in other FOSS
by Chuckk Hubbard 12 Mar '19

12 Mar '19

Hello. Many years ago, when I first went through some Pd tutorials, I noticed how the mtof, ftom, et al objects, as well as the audio/MIDI testing patch, allowed for floats in place of integer MIDI note numbers, interpreted the same way, and found that really interesting. The main reason I've ever been drawn to programming is to facilitate microtonal composition (I wrote a microtonal sequencer in Pd in college, got an A*, *thanks, later rewrote it in Python using Csound, now it's broken due to Csound API changes). Now that I know C and C++ at least a little better, I'm wondering if it would be feasible to implement such treatment of MIDI(-style) note numbers in other open source music programs, e.g. simply by overloading functions written with byte or int8 arguments and offering float versions alongside them, leaving the same midi-cps algorithms. One of the Ardour devs discouraged this (well, several, but one had this argument) complaining of floating-point rounding. From what I've researched, typical single floats ,IEEE something, can represent any real number accurate to 6 digits. For 0-127, at least 3 digits after the decimal point means at least 1/1000 of a semitone, or 0.1 cents. I call that definitely good enough. Or doubles, for the picky. I bring this up here because Pd is the only software I've ever found that implemented such a thing, and I think it's brilliant. I'd like to slowly go through various open source MIDI programs and make versions that allow floating-point note numbers and still support the original byte/int8 arguments. A DAW and a couple of plugins to start. Maybe a piano roll that allows disabling snap-to for pitch; or my own sequencer could easily be made to send these numbers. Ardour has 32 bits internal audio samples, still 7 bits of polyphonic pitch control. I think this would be revolutionary for microtonal music, and simple to implement, though the authors of these programs might not have thought of it. Anyone in? Anyone more familiar with MIDI coding give me a hint in what sections of code to search? Any open-source devs who'd be open to it? NB For all the alternative suggestions, I have tried them. Pitch bend is one value per channel, so you'd need a separate sound gen for each channel* (I'm *wor*king *on this with* IEM's Pd *vstplugin~, but e.g. 10 voices per channel times 4 instruments is already 40 running plugins). Scala .scl files have a finite set of pitches that, in most cases, cannot be changed during performance - you can only change the scale with mouse clicks. Directly sending frequency instead of note numbers involves more code changes. There are lots of possible ways to make software microtone-friendly. I think this would be the best mix of versatile and easy to do. Thanks! Chuckk

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chronometer + metronome that syncs multiple Android/iOS devices over network?
by enrike 12 Mar '19

12 Mar '19

hi all We need a chronometer that runs in sync in multiple devices at the same time. Target platform is android, and if possible iOS as well. We are thinking also that it would be great to have some sort of metronome running together with the chronometer (we have trained musicians together with non trained musicians in the ensemble). So far we have been using http://chronograph.io/ so far but it is not 100% reliable, we had a few issues last performance (one device was ~1 sec behind the others, and often during rehearsals we had problems with the start signal not being sent at all). I am considering the possibility of implementing this functionality in PD using PDdroidparty and OSC. Because we dont like the tools we have found online. We found some nice metronomes but the only one that seems to sync is only iOS. And we do need the chronometer (in fact priority n1 is the chronometer right now). I thought maybe someone can point into some existing alternative before I try to reinvent the wheel. One of the biggest issues I foresee is to find an easy and quick way for the master device to find out the available slaves in the network. I would not like to have to, one by one, find and then type the IPs of each single device in the master device, although the master could be a laptop running PD and that would make it easier to type them... thanks in advance for any feedback enrike

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[PD-announce] ICAD 2019 Papers Deadline Extension
by Paul Vickers 11 Mar '19

11 Mar '19

(Apologies for cross-posting) ICAD 2019 — Extension to Call for Submission of Papers: 29 March 2019 25th International Conference on Auditory Display Northumbria University, Newcastle-upon-Tyne, UK 23–27 June, 2019 https://icad2019.icad.org https://twitter.com/ICAD2019 The deadline for general papers and those for the Hyundai Motor Co. Design Challenge has been extended to 29 March 2019. The full CfP with submission instructions can be found at https://icad2019.icad.org/call-for-participation/ Conference registration details are available at https://icad2019.icad.org/registration/ Papers Chair: Tony Stockman icad2019papers(a)icad.org Workshop/Tutorial Chair: Derek Brock icad2019workshops(a)icad.org Conference Chairs: Paul Vickers and Matti Gröhn icad2019chairs(a)icad.org ABOUT ICAD First held in 1992, ICAD is a highly interdisciplinary conference with relevance to researchers, practitioners, artists, and graduate students working with sound to convey and explore information. The conference is unique in its specific focus on auditory displays and the range of interdisciplinary issues related to their use. Like its predecessors, ICAD 2019 will be a single-track conference, open to all, with no membership or affiliation requirements. -- Paul Vickers Co-chair of ICAD 2019: https://icad2019.icad.org This message is intended solely for the addressee and may contain confidential and/or legally privileged information. Any use, disclosure or reproduction without the sender’s explicit consent is unauthorised and may be unlawful. If you have received this message in error, please notify Northumbria University immediately and permanently delete it. Any views or opinions expressed in this message are solely those of the author and do not necessarily represent those of the University. Northumbria University email is provided by Microsoft Office365 and is hosted within the EEA, although some information may be replicated globally for backup purposes. The University cannot guarantee that this message or any attachment is virus free or has not been intercepted and/or amended. _______________________________________________ Pd-announce mailing list Pd-announce(a)lists.iem.at https://lists.puredata.info/listinfo/pd-announce

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[PD-announce] MUME 2019 Concert - 2nd CALL FOR WORKS
by Kıvanç Tatar 11 Mar '19

11 Mar '19

=================== *MUME 2019 Concert - 2nd CALL FOR WORKS* =================== The 7th International Workshop on Musical Metacreation http://musicalmetacreation.org June 17-18, 2019, Charlotte, North Carolina === Important Dates === submission deadline: March 24, 2019 notification date: April 28, 2019 concert dates: June 17 evening, 2019 ====================== *Overview* Creators of musically metacreative systems are invited to submit works for a concert of musical metacreation, as part of the 10th International Conference on Computational Creativity, ICCC 2019, at the University of North Carolina Charlotte. Submitted works can be of any musical style, but must involve a performative element and must involve the use of computational creativity techniques in the creation of the work. Examples from previous MuMe concerts include, but are not limited to: reproduction of musical style using machine learning; the evolution of musical structures using interactive genetic algorithms; rule-based systems; systems based on emergence or self-organization; systems that perform music data mining to create remixes, and so on. *Types of Work* Any work related to MuMe that can be presented in a performance context will be considered. This includes: - Improvising agents that perform alongside live musicians. - Automated composition systems that generate music in real-time or pre-compose music for performers, as well as automated DJ systems. - Systems that use AI methods for other creative objectives, such as harmonizing, intelligent looping, or finding suitable matches for a target phrase. - Systems that generate lyrics. - Music that uses evolution, emergence or ecosystemic concepts. *Submission Process* Please submit a two page A4-portrait PDF describing your work before the submission deadline. Email your submission to chairs(a)musicalmetacreation.org. Submissions should *not* be *anonymized.* Your submission should: - Describe the work. - Explain how the work relates to the MuMe theme. - Give a relatively detailed technical description of the system*. - Give detailed performance requirements. As necessary, this may include a stage plan, equipment needs, technical support needs, and performing musicians (you can use additional PDF pages for any supporting items). - Provide a link to any additional documentary material such as audio or video recordings, or online software (highly recommended). - Give credits and biography (name, affiliation, short biography up to 150 words). * It is common to receive submissions that are highly ambiguous about what the proposed system actually does. Works will be rejected if this is the case. The description does not need to be highly technically detailed but it should remove any fundamental ambiguity. *Selection Process* All submissions will be reviewed by three independent members of the selection committee. Once these reviews have been completed the reviewers and the chairs will discuss these works and reviews. The chairs will provide a meta-review, the three original reviews, and a final decision. Reviewers will be anonymous to the authors, but not to each other. The final decision lies with the chairs, in consultation with the committee. *Upon Acceptance* Artists are required to be in attendance and set up their own equipment. At least one artist must register for the MuMe workshop. A schedule for performances, rehearsals and soundchecks will be made available in the week before the concert. Follow us on Twitter @MetaMusical. Workshop Organizers =================== Program Co-Chair Robert M. Keller, Professor Computer Science Department Harvey Mudd College 301 Platt Blvd Claremont, CA 91711 USA https://www.cs.hmc.edu/~keller/ keller(a)cs.hmc.edu Program Co-Chair Bob L. Sturm, Associate Professor Tal, Musik och Hörsel (Speech, Music and Hearing) Lindstedtsvägen 24 School of Electronic Engineering and Computer Science Royal Institute of Technology KTH, Sweden bobs(a)kth.se Concert Chair Gus Xia, Assistant Professor Computer Science NYU Shanghai gxia(a)nyu.edu Publicity Chair Dr. Oliver Bown Senior Lecturer Faculty of Art & Design, The University of New South Wales Room AG12, Cnr Oxford St & Greens Rd, Paddington, NSW, 2021, Australia o.bown(a)unsw.edu.au ---------------------- http://musicalmetacreation.org ====================== MUME Steering Committee Andrew Brown Griffith University, Australia Anna Jordanous University of Kent, UK Róisín Loughran University College Dublin, Ireland Michael Casey Dartmouth College, US Benjamin Smith Purdue University Indianapolis, US Philippe Pasquier Simon Fraser University Arne Eigenfledt Simon Fraser University -- Kıvanç Tatar ---------------------------------- PhD Candidate Interactive Arts + Technology Simon Fraser University, Vancouver, Canada Email: kivanctatar(a)gmail.com Website: https://kivanctatar.com/ _______________________________________________ Pd-announce mailing list Pd-announce(a)lists.iem.at https://lists.puredata.info/listinfo/pd-announce

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Re: [PD] how to edit PD's colors to make your own theme
by Dan Wilcox 10 Mar '19

10 Mar '19

Not yet. It is indeed hardcoded. It's on my list with tabbed preferences window when I have a bit more breathing room. > On Mar 8, 2019, at 11:49 PM, pd-list-request(a)lists.iem.at wrote: > > From: Alexandre Torres Porres <porres(a)gmail.com <mailto:porres@gmail.com>> > To: Pd-List <pd-list(a)lists.iem.at <mailto:pd-list@lists.iem.at>> > Subject: Re: [PD] how to edit PD's colors to make your own theme > Message-ID: > <CAEAsFmgBQRPspWu2WPuMw_kFgTS=UEU6z5mtU8K1sLoxrywDyQ(a)mail.gmail.com <mailto:CAEAsFmgBQRPspWu2WPuMw_kFgTS=UEU6z5mtU8K1sLoxrywDyQ@mail.gmail.com>> > Content-Type: text/plain; charset="utf-8" > > or does it mean we can't even edit it without having to recompile from the > source? -------- Dan Wilcox @danomatika <http://twitter.com/danomatika> danomatika.com <http://danomatika.com/> robotcowboy.com <http://robotcowboy.com/>

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array vs table
by Peter P. 09 Mar '19

09 Mar '19

A quick one: Is there any difference in terms of performance of using [array] over [table] for audio data loaded from audio files? thanks, P

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Pd-list March 2019