From nando at ccrma.Stanford.EDU Thu May 1 01:18:30 2008 From: nando at ccrma.Stanford.EDU (Fernando Lopez-Lezcano) Date: Thu, 01 May 2008 10:18:30 +0200 Subject: [CM] Music5 In-Reply-To: <20080430194406.M87541@ccrma.Stanford.EDU> References: <20080430194406.M87541@ccrma.Stanford.EDU> Message-ID: <1209629910.23710.7.camel@localhost.localdomain> On Wed, 2008-04-30 at 12:48 -0700, Bill Schottstaedt wrote: > With Max's approval, I scanned in the programmer's manual, > and put it at the ccrma ftp site. I think I'll need to make > a music5 tarball or website A page tracking your progress would be great to have... > or something -- I have compilable > versions of all 3 passes of music5 now. I need to track down > a couple missing functions (putfile and ifile, which I think > were local SAILisms), and learn how to run each pass, and > then maybe I'll be able to hear some of this newfangled > digital music. They say it's all jaggy and cold. Any recovered scores to feed the compiler? That would be quite something... Kudos for your "archaeological" work! -- Fernando From dlphillips at woh.rr.com Thu May 1 03:23:49 2008 From: dlphillips at woh.rr.com (Dave Phillips) Date: Thu, 01 May 2008 06:23:49 -0400 Subject: [CM] Music5 In-Reply-To: <1209629910.23710.7.camel@localhost.localdomain> References: <20080430194406.M87541@ccrma.Stanford.EDU> <1209629910.23710.7.camel@localhost.localdomain> Message-ID: <48199A35.2000609@woh.rr.com> Fernando Lopez-Lezcano wrote: > Kudos for your "archaeological" work! > Indeed! Max Matthews, Gerald Strang, Music5, music11... It's like I'm back in the late 1980s, when I was poring over CMJ reprints, wondering who were these amazing people and fantasizing about owning a PDP or an SGI machine... I even recall reading some very interesting articles by a fellow named William Schottstaedt... For all that's been achieved since those days, I still have great fondness for them. Everything about computers and music seemed like magic then. I couldn't hear enough or read enough about it (relevant material was hard to find then anyway, especially here in the backwoods), and I thought I'd found nirvana when I discovered Csound (ca. 1989). So yes, thanks for the digging, Bill, but thanks too for your own pioneering work. Believe it or not, it inspired even some young fellows stuck in the hinterlands of NW Ohio, and it was certainly a factor in getting me to where I am today. (And I'm a reasonably happy guy these days. :) Still inspired here, dp From bil at ccrma.Stanford.EDU Thu May 1 05:57:26 2008 From: bil at ccrma.Stanford.EDU (Bill Schottstaedt) Date: Thu, 1 May 2008 05:57:26 -0700 Subject: [CM] Music5 In-Reply-To: <48199A35.2000609@woh.rr.com> References: <20080430194406.M87541@ccrma.Stanford.EDU> <1209629910.23710.7.camel@localhost.localdomain> <48199A35.2000609@woh.rr.com> Message-ID: <20080501125258.M93844@ccrma.Stanford.EDU> Thanks Dave! I'm all smiles. And thanks Nando-in-the-Other-Hemisphere. I'm hoping to get some music -- Max mentioned that others have wanted to use music5, and I can't see any reason why my fm-violin wouldn't work. I think I found a reverberator from that era, without which there's no point in going on. But first, I need to get file IO squared away. From nando at ccrma.Stanford.EDU Thu May 1 10:03:17 2008 From: nando at ccrma.Stanford.EDU (Fernando Lopez-Lezcano) Date: Thu, 01 May 2008 19:03:17 +0200 Subject: [CM] Music5 In-Reply-To: <20080501125258.M93844@ccrma.Stanford.EDU> References: <20080430194406.M87541@ccrma.Stanford.EDU> <1209629910.23710.7.camel@localhost.localdomain> <48199A35.2000609@woh.rr.com> <20080501125258.M93844@ccrma.Stanford.EDU> Message-ID: <1209661397.17015.8.camel@localhost.localdomain> On Thu, 2008-05-01 at 05:57 -0700, Bill Schottstaedt wrote: > Thanks Dave! I'm all smiles. And thanks Nando-in-the-Other-Hemisphere. > I'm hoping to get some music -- Max mentioned that others have wanted > to use music5, and I can't see any reason why my fm-violin wouldn't work. > I think I found a reverberator from that era, without which there's no point > in going on. > > But first, I need to get file IO squared away. Woohoo!... In my first class here (at TU-Berlin) I gave a short "history of computer music" introduction[*] and I toured through the music n languages lineage. It would have been superb to be able to open a terminal, run a PDPx emulator and actually compile a score! Of course the emulator should have a "native speed" option to slow down things to the crawling pace of that time... -- Fernando [*] an extension of the slide show Juan Pablo Caceres created for our workshop in Mexico. From bil at ccrma.Stanford.EDU Thu May 1 13:39:45 2008 From: bil at ccrma.Stanford.EDU (Bill Schottstaedt) Date: Thu, 1 May 2008 13:39:45 -0700 Subject: [CM] Music5 In-Reply-To: <1209661397.17015.8.camel@localhost.localdomain> References: <20080430194406.M87541@ccrma.Stanford.EDU> <1209629910.23710.7.camel@localhost.localdomain> <48199A35.2000609@woh.rr.com> <20080501125258.M93844@ccrma.Stanford.EDU> <1209661397.17015.8.camel@localhost.localdomain> Message-ID: <20080501203548.M52545@ccrma.Stanford.EDU> I'll look at those emulators, though I could write one myself (for the music users). I found ifile finally -- it was just the local "open", so I'm in business, I can run the 3 passes and get TYPE FILE NAME but I need known-good input, or at least reasonable-input. I'll have to find Max's book somewhere, or try to invent something. I also put the class notes on the ftp server. From taube at uiuc.edu Thu May 1 16:36:54 2008 From: taube at uiuc.edu (Heinrich Taube) Date: Thu, 1 May 2008 18:36:54 -0500 Subject: [CM] updated betas, win32 with csound port In-Reply-To: <860f9f110805011613u1f37e98en2d4bdce8937cd58a@mail.gmail.com> References: <20080426100441.BDQ86931@expms6.cites.uiuc.edu> <860f9f110805011613u1f37e98en2d4bdce8937cd58a@mail.gmail.com> Message-ID: <175837EE-FCF1-4E19-B1FD-1CC1E753BFD7@uiuc.edu> I think i have a fix for the csoundport on windows (switching from csoundScoreEvent to csoundInputMessage) and the same new code will also allow passing a string pfield value in addition tot numbers. Since this is a bit of a rewrite Ive taken the opportunity to make the csound port more flexible -- you can open it for rt audio and render score data to sound files at the same time, or play score data out the rt port. I will try to ship the csound dll with grace so there is no confusion, as i understand it if you put a dll in a the directory with the .exe then windows will find it (we will see...) ill should have the new binaries available tomrrow i think, or no later than saturday. On May 1, 2008, at 6:13 PM, Ben McAllister wrote: > Hi cmdist list - > > On Sat, Apr 26, 2008 at 8:04 AM, wrote: > ... > > to use the csound versions you have to install csound5. on win32 the > app was linked against c:/program files/csound/bin/csound64.dll.5.1 > so you may need this exact path on your machine for it to work > (sorry, i dont know much about dll linking on windows yet...) > > > > Is this to say that Grace will only work with the doubles version of > csound5 ( Csound5.08.2-gnu-win32-d.exe ) , not the floats version > ( Csound5.08.2-gnu-win32-f.exe )? It may be a helpful data point > in testing. It sounds like that's the case. Installing the > doubles version, I get > > Opening Csound port: -o dac -d C:\Program Files\Grace\Resources > \csound\grace.orc ... :( > Csound failed to initialize. > > Csound is working ok from the cmd line, and I have the csound dll at > the location you mention. I'm running xp SP2. No Linux version I > take it? > > Thanks! > Ben McAllister > http://www.listenfaster.com From znmeb at cesmail.net Thu May 1 19:33:09 2008 From: znmeb at cesmail.net (M. Edward (Ed) Borasky) Date: Thu, 01 May 2008 19:33:09 -0700 Subject: [CM] Music5 In-Reply-To: <1209661397.17015.8.camel@localhost.localdomain> References: <20080430194406.M87541@ccrma.Stanford.EDU> <1209629910.23710.7.camel@localhost.localdomain> <48199A35.2000609@woh.rr.com> <20080501125258.M93844@ccrma.Stanford.EDU> <1209661397.17015.8.camel@localhost.localdomain> Message-ID: <481A7D65.2030105@cesmail.net> Fernando Lopez-Lezcano wrote: > On Thu, 2008-05-01 at 05:57 -0700, Bill Schottstaedt wrote: >> Thanks Dave! I'm all smiles. And thanks Nando-in-the-Other-Hemisphere. >> I'm hoping to get some music -- Max mentioned that others have wanted >> to use music5, and I can't see any reason why my fm-violin wouldn't work. >> I think I found a reverberator from that era, without which there's no point >> in going on. >> >> But first, I need to get file IO squared away. > > Woohoo!... > > In my first class here (at TU-Berlin) I gave a short "history of > computer music" introduction[*] and I toured through the music n > languages lineage. It would have been superb to be able to open a > terminal, run a PDPx emulator and actually compile a score! Of course > the emulator should have a "native speed" option to slow down things to > the crawling pace of that time... > > -- Fernando > > [*] an extension of the slide show Juan Pablo Caceres created for our > workshop in Mexico. > > > _______________________________________________ > Cmdist mailing list > Cmdist at ccrma.stanford.edu > http://ccrma-mail.stanford.edu/mailman/listinfo/cmdist > You're bringing back fond memories here. I was an undergrad at the University of Illinois from 1959 -- 1962. In that period, I was exposed to Lejaren Hiller and the ILLIAC suite, Harry Partch, and Alwin Nikolai. I learned to program on ILLIAC I, heard it play music via timed loops and a speaker hooked up to the sign bit of the accumulator register, and listened to the sounds that the plot routine made when creating microfilm output. And I dreamed of having a computer that would compose and perform music. I never got a chance to actually touch such a machine until the Altair/KIM-1 days, except for some brief off-hours experiments with an IBM 1620, a transistor radio and a tape recorder and some experiments with a Control Data 924. So now I have all the magic, and anyone can get something absolutely stupendous in this arena for under $1000 US -- you can probably even do it on a $500 dual-core laptop in Windows. The $200 OLPC XO runs CSound. What a long strange trip it has been, indeed. From brickle at pobox.com Thu May 1 19:54:36 2008 From: brickle at pobox.com (Frank Brickle) Date: Thu, 1 May 2008 22:54:36 -0400 Subject: [CM] Music5 In-Reply-To: <20080501125258.M93844@ccrma.Stanford.EDU> References: <20080430194406.M87541@ccrma.Stanford.EDU> <1209629910.23710.7.camel@localhost.localdomain> <48199A35.2000609@woh.rr.com> <20080501125258.M93844@ccrma.Stanford.EDU> Message-ID: Speaking for the old Columbia-Princeton contingent, I'd be very happy if somebody could dredge up the Music IV sources. Frank On Thu, May 1, 2008 at 8:57 AM, Bill Schottstaedt wrote: > Thanks Dave! I'm all smiles. And thanks Nando-in-the-Other-Hemisphere. > I'm hoping to get some music -- Max mentioned that others have wanted > to use music5, and I can't see any reason why my fm-violin wouldn't work. > I think I found a reverberator from that era, without which there's no > point > in going on. > > But first, I need to get file IO squared away. > > > > _______________________________________________ > Cmdist mailing list > Cmdist at ccrma.stanford.edu > http://ccrma-mail.stanford.edu/mailman/listinfo/cmdist > -- The only thing we have to fear is whatever comes along next. -- Austin Cline -------------- next part -------------- An HTML attachment was scrubbed... URL: From znmeb at cesmail.net Thu May 1 21:00:24 2008 From: znmeb at cesmail.net (M. Edward (Ed) Borasky) Date: Thu, 01 May 2008 21:00:24 -0700 Subject: [CM] Music5 In-Reply-To: References: <20080430194406.M87541@ccrma.Stanford.EDU> <1209629910.23710.7.camel@localhost.localdomain> <48199A35.2000609@woh.rr.com> <20080501125258.M93844@ccrma.Stanford.EDU> Message-ID: <481A91D8.3070203@cesmail.net> Frank Brickle wrote: > Speaking for the old Columbia-Princeton contingent, I'd be very happy if > somebody could dredge up the Music IV sources. > > Frank > > > On Thu, May 1, 2008 at 8:57 AM, Bill Schottstaedt > > wrote: > > Thanks Dave! I'm all smiles. And thanks Nando-in-the-Other-Hemisphere. > I'm hoping to get some music -- Max mentioned that others have wanted > to use music5, and I can't see any reason why my fm-violin wouldn't > work. > I think I found a reverberator from that era, without which there's > no point > in going on. > > But first, I need to get file IO squared away. > > > > _______________________________________________ > Cmdist mailing list > Cmdist at ccrma.stanford.edu > http://ccrma-mail.stanford.edu/mailman/listinfo/cmdist > > > > > -- > The only thing we have to fear is whatever comes along next. -- Austin > Cline > > > ------------------------------------------------------------------------ > > _______________________________________________ > Cmdist mailing list > Cmdist at ccrma.stanford.edu > http://ccrma-mail.stanford.edu/mailman/listinfo/cmdist IIRC the FORTRAN source to one of the MUSIC series was in _The Technology of Computer Music_. From brickle at pobox.com Thu May 1 21:19:09 2008 From: brickle at pobox.com (Frank Brickle) Date: Fri, 2 May 2008 00:19:09 -0400 Subject: [CM] Music5 In-Reply-To: <481A91D8.3070203@cesmail.net> References: <20080430194406.M87541@ccrma.Stanford.EDU> <1209629910.23710.7.camel@localhost.localdomain> <48199A35.2000609@woh.rr.com> <20080501125258.M93844@ccrma.Stanford.EDU> <481A91D8.3070203@cesmail.net> Message-ID: On Fri, May 2, 2008 at 12:00 AM, M. Edward (Ed) Borasky wrote: > IIRC the FORTRAN source to one of the MUSIC series was in _The Technology > of Computer Music_. > That was pretty surely a version of Music5. I think there may never have been even a working version of Music5 at Princeton in the 1970-1980 period, though the rest of the world might have moved on. Music IV had the advantage that we could piggyback on whoever was laying out the dough for the most highly-optimized IBM Fortran compiler at the time. I later ported it to the PDP-11, but never bothered to keep an archival copy of that either. Frank -- The only thing we have to fear is whatever comes along next. -- Austin Cline -------------- next part -------------- An HTML attachment was scrubbed... URL: From bil at ccrma.Stanford.EDU Fri May 2 03:13:19 2008 From: bil at ccrma.Stanford.EDU (Bill Schottstaedt) Date: Fri, 2 May 2008 03:13:19 -0700 Subject: [CM] Music5 In-Reply-To: <481A7D65.2030105@cesmail.net> References: <20080430194406.M87541@ccrma.Stanford.EDU> <1209629910.23710.7.camel@localhost.localdomain> <48199A35.2000609@woh.rr.com> <20080501125258.M93844@ccrma.Stanford.EDU> <1209661397.17015.8.camel@localhost.localdomain> <481A7D65.2030105@cesmail.net> Message-ID: <20080502100514.M60912@ccrma.Stanford.EDU> > heard it play music via timed loops > and a speaker hooked up to the sign bit of the accumulator register This sounds like the computer music I heard when I was about 10 or 11 years old (1961 or maybe 62) -- on my birthday I got a tour of the computer facility where my father worked (a huge room full of IBM's or maybe one IBM), and the guys played happy birthday somehow, and were gleefully calling it computer music. A great present! From znmeb at cesmail.net Fri May 2 23:49:18 2008 From: znmeb at cesmail.net (M. Edward (Ed) Borasky) Date: Fri, 02 May 2008 23:49:18 -0700 Subject: [CM] Music5 In-Reply-To: <20080502100514.M60912@ccrma.Stanford.EDU> References: <20080430194406.M87541@ccrma.Stanford.EDU> <1209629910.23710.7.camel@localhost.localdomain> <48199A35.2000609@woh.rr.com> <20080501125258.M93844@ccrma.Stanford.EDU> <1209661397.17015.8.camel@localhost.localdomain> <481A7D65.2030105@cesmail.net> <20080502100514.M60912@ccrma.Stanford.EDU> Message-ID: <481C0AEE.3060704@cesmail.net> Bill Schottstaedt wrote: >> heard it play music via timed loops >> and a speaker hooked up to the sign bit of the accumulator register > > This sounds like the computer music I heard when I was about 10 or 11 > years old (1961 or maybe 62) -- on my birthday I got a tour of the > computer facility where my father worked (a huge room full of IBM's > or maybe one IBM), and the guys played happy birthday somehow, > and were gleefully calling it computer music. A great present! > > > _______________________________________________ > Cmdist mailing list > Cmdist at ccrma.stanford.edu > http://ccrma-mail.stanford.edu/mailman/listinfo/cmdist > Yep ... actually, there was a "business case" for having that speaker tied to a register. One could infer the structure of the computation from it, and if by chance one's program had gone into an infinite loop, you'd get either silence or a monotone at the frequency of the bit changing. The Control Data 924 had the top three bits wired as a 3-bit DAC (although they were reversed -- bit 23 was the low-order bit, bit 22 the middle bit and bit 21 the high-order bit!) Somewhere buried in a back room I think I have some reel-to-reel tapes I made on that CDC 924. There were some timed loops in the operating system that had been deliberately coded to make sounds, and I had coded some others that took advantage of the DAC structure. The sounds of computers at work (at least the "slow" ones of that era) are fascinating. They're really nothing like the "bloops" and "bleeps" you hear in science fiction movies of the time. They have a "fractal" structure, there are "buzzes" and arpeggios, and sometimes they are as complex as whale songs. From bil at ccrma.Stanford.EDU Sat May 3 04:25:41 2008 From: bil at ccrma.Stanford.EDU (Bill Schottstaedt) Date: Sat, 3 May 2008 04:25:41 -0700 Subject: [CM] music5 In-Reply-To: References: <20080430194406.M87541@ccrma.Stanford.EDU> <1209629910.23710.7.camel@localhost.localdomain> <48199A35.2000609@woh.rr.com> <20080501125258.M93844@ccrma.Stanford.EDU> Message-ID: <20080503111739.M97469@ccrma.Stanford.EDU> > Speaking for the old Columbia-Princeton contingent, I'd be very happy > if somebody could dredge up the Music IV sources. Now that you mention it, I just noticed that MUS10 was a music IV descendent -- I wonder how much difference there was. I think I'll put the MUS10 manual online too (from 1977 -- Tovar and Leland Smith). Hmm... I wonder how far to carry this -- I have all the CCRMA Foonly documentation, and many of the programs (SAIL and FAIL primarily) that we used, going back to the PDP-6 in some cases. The SAIL code used the SAIL character set which makes it hard to read at times. I also have dozens, perhaps hundreds of MUS10 instruments and note lists. From dlphillips at woh.rr.com Sat May 3 05:02:45 2008 From: dlphillips at woh.rr.com (Dave Phillips) Date: Sat, 03 May 2008 08:02:45 -0400 Subject: [CM] music5 In-Reply-To: <20080503111739.M97469@ccrma.Stanford.EDU> References: <20080430194406.M87541@ccrma.Stanford.EDU> <1209629910.23710.7.camel@localhost.localdomain> <48199A35.2000609@woh.rr.com> <20080501125258.M93844@ccrma.Stanford.EDU> <20080503111739.M97469@ccrma.Stanford.EDU> Message-ID: <481C5465.8050304@woh.rr.com> Bill Schottstaedt wrote: > ... I wonder how far to carry this ... An important concern, IMO. Does this stuff exist in viewable form anywhere else ? Perhaps an archive should be established for the code and documentation for MusicV and its derivatives. Personally speaking, I'd like to see a nice Web page for this archive, topped by that picture of Fernando in Rolling Stone... :) Best, dp From bil at ccrma.Stanford.EDU Sat May 3 05:50:31 2008 From: bil at ccrma.Stanford.EDU (Bill Schottstaedt) Date: Sat, 3 May 2008 05:50:31 -0700 Subject: [CM] music5 In-Reply-To: <481C5465.8050304@woh.rr.com> References: <20080430194406.M87541@ccrma.Stanford.EDU> <1209629910.23710.7.camel@localhost.localdomain> <48199A35.2000609@woh.rr.com> <20080501125258.M93844@ccrma.Stanford.EDU> <20080503111739.M97469@ccrma.Stanford.EDU> <481C5465.8050304@woh.rr.com> Message-ID: <20080503124013.M82863@ccrma.Stanford.EDU> > An important concern, IMO. Does this stuff exist in viewable form > anywhere else ? Many of the WAITS system docs are on-line at bitsavers.org under dec, but as far as I can tell, none of the music stuff is on-line. I made an extensive search yesterday for anything related to music 4, 5, and 10 (geez, it's really annoying that pop music has taken over those names), and came up almost empty. There is one SAIL archive, that JC and I tried to penetrate with advice from Les Earnest (saildart), (we were trying to get at JC's Stria sources for that set of articles in CMJ), but the keeper of those files is unresponsive. Why make such an archive, tell everyone, and then lock it up? Anyway, I don't think any of the CCRMA-specific stuff is available anywhere. I saved it from the crash of the F4 with a modem and a telephone line dribbling stuff into a NeXT optical -- a story worthy of Charles Dickens, or maybe Steven King. 15 years later, Fernando somehow read those opticals, probably the last man on earth who could have done it. We lost a bunch of the opticals in the Knoll renovation -- I last saw them in my bookcase... From nando at ccrma.Stanford.EDU Sat May 3 08:27:12 2008 From: nando at ccrma.Stanford.EDU (Fernando Lopez-Lezcano) Date: Sat, 03 May 2008 17:27:12 +0200 Subject: [CM] music5 In-Reply-To: <20080503124013.M82863@ccrma.Stanford.EDU> References: <20080430194406.M87541@ccrma.Stanford.EDU> <1209629910.23710.7.camel@localhost.localdomain> <48199A35.2000609@woh.rr.com> <20080501125258.M93844@ccrma.Stanford.EDU> <20080503111739.M97469@ccrma.Stanford.EDU> <481C5465.8050304@woh.rr.com> <20080503124013.M82863@ccrma.Stanford.EDU> Message-ID: <1209828432.26813.5.camel@localhost.localdomain> On Sat, 2008-05-03 at 05:50 -0700, Bill Schottstaedt wrote: > > An important concern, IMO. Does this stuff exist in viewable form > > anywhere else ? > > [MUNCH] We lost > a bunch of the opticals in the Knoll renovation -- I last > saw them in my bookcase... I never threw one away (but others... I don't know), I think I have some old ones stashed away. Hmmm, maybe you could take a look in my office, I think there are a lot of them (most of them mine) in the left cabinet (next to the window). -- Fernando From bil at ccrma.Stanford.EDU Sat May 3 15:55:20 2008 From: bil at ccrma.Stanford.EDU (Bill Schottstaedt) Date: Sat, 3 May 2008 15:55:20 -0700 Subject: [CM] music5 In-Reply-To: <1209828432.26813.5.camel@localhost.localdomain> References: <20080430194406.M87541@ccrma.Stanford.EDU> <1209629910.23710.7.camel@localhost.localdomain> <48199A35.2000609@woh.rr.com> <20080501125258.M93844@ccrma.Stanford.EDU> <20080503111739.M97469@ccrma.Stanford.EDU> <481C5465.8050304@woh.rr.com> <20080503124013.M82863@ccrma.Stanford.EDU> <1209828432.26813.5.camel@localhost.localdomain> Message-ID: <20080503224924.M5324@ccrma.Stanford.EDU> I got Max's book, and it answers my questions: there were no real differences between music 4 and 5 (the latter tried to avoid machine code, instruments and note lists could occur in the same file, and the input syntax was lightened up a bit). Also, Max himself did the 36-bit stuff -- that was not for the PDP-10, but for the GE645 -- I didn't even know General Electric made a computer. And I now have copiously annotated input, so I have no excuse. From znmeb at cesmail.net Sat May 3 16:47:39 2008 From: znmeb at cesmail.net (M. Edward (Ed) Borasky) Date: Sat, 03 May 2008 16:47:39 -0700 Subject: [CM] music5 In-Reply-To: <20080503224924.M5324@ccrma.Stanford.EDU> References: <20080430194406.M87541@ccrma.Stanford.EDU> <1209629910.23710.7.camel@localhost.localdomain> <48199A35.2000609@woh.rr.com> <20080501125258.M93844@ccrma.Stanford.EDU> <20080503111739.M97469@ccrma.Stanford.EDU> <481C5465.8050304@woh.rr.com> <20080503124013.M82863@ccrma.Stanford.EDU> <1209828432.26813.5.camel@localhost.localdomain> <20080503224924.M5324@ccrma.Stanford.EDU> Message-ID: <481CF99B.7060901@cesmail.net> Bill Schottstaedt wrote: > I got Max's book, and it answers my questions: there were no > real differences between music 4 and 5 (the latter tried to avoid > machine code, instruments and note lists could occur in the > same file, and the input syntax was lightened up a bit). > Also, Max himself did the 36-bit stuff -- that was not for > the PDP-10, but for the GE645 -- I didn't even know General > Electric made a computer. And I now have copiously > annotated input, so I have no excuse. > > > _______________________________________________ > Cmdist mailing list > Cmdist at ccrma.stanford.edu > http://ccrma-mail.stanford.edu/mailman/listinfo/cmdist > I was under the impression that Max himself did the 36-bit stuff because his original version was on the IBM 704, a 36-bit machine. I thought that his original version had been on the IBM 7090 until I did some Google searches the other day. The 7090 was upward compatible from the 704, however. Yes, General Electric, Philco, RCA, Bendix, Honeywell and Xerox all made computers at one time. Gradually they all got absorbed. I forget who bought RCA's computer division, but Honeywell ended up with both Xerox and General Electric in addition to their own. In fact, "Unix" was a play on the name "Multics", a GE/Honeywell operating system. From brickle at pobox.com Sat May 3 19:24:19 2008 From: brickle at pobox.com (Frank Brickle) Date: Sat, 3 May 2008 22:24:19 -0400 Subject: [CM] music5 In-Reply-To: <20080503224924.M5324@ccrma.Stanford.EDU> References: <20080430194406.M87541@ccrma.Stanford.EDU> <1209629910.23710.7.camel@localhost.localdomain> <48199A35.2000609@woh.rr.com> <20080501125258.M93844@ccrma.Stanford.EDU> <20080503111739.M97469@ccrma.Stanford.EDU> <481C5465.8050304@woh.rr.com> <20080503124013.M82863@ccrma.Stanford.EDU> <1209828432.26813.5.camel@localhost.localdomain> <20080503224924.M5324@ccrma.Stanford.EDU> Message-ID: On Sat, May 3, 2008 at 6:55 PM, Bill Schottstaedt wrote: > I got Max's book, and it answers my questions: there were no > real differences between music 4 and 5 (the latter tried to avoid > machine code, instruments and note lists could occur in the > same file, and the input syntax was lightened up a bit). Umm...sort of. In Music IV the orchestra is entirely in Fortran. There's no instrument definition language per se. Each "instrument" needs separately-callable initialization and execution routines. The unit generators are simply function calls. State has to be managed explicitly by the user. What does Music 5 do about user-processing of the note lists? Music IV provides entries for user-written routines that get called after the input pass (Pass 1) and the sorting pass (Pass 2). A lot of what gave Music IV its kick was having the unit generators written in assembler. They were surprisingly easy to write IIRC. They were the introduction to 360 assembler for a number of us. What a precious skill *that* turned out to be... Frank > Also, Max himself did the 36-bit stuff -- that was not for > the PDP-10, but for the GE645 -- I didn't even know General > Electric made a computer. And I now have copiously > annotated input, so I have no excuse. > > > > > _______________________________________________ > Cmdist mailing list > Cmdist at ccrma.stanford.edu > http://ccrma-mail.stanford.edu/mailman/listinfo/cmdist > -- The only thing we have to fear is whatever comes along next. -- Austin Cline From bil at ccrma.Stanford.EDU Sun May 4 12:19:27 2008 From: bil at ccrma.Stanford.EDU (Bill Schottstaedt) Date: Sun, 4 May 2008 12:19:27 -0700 Subject: [CM] music5 In-Reply-To: <481CF99B.7060901@cesmail.net> References: <20080430194406.M87541@ccrma.Stanford.EDU> <1209629910.23710.7.camel@localhost.localdomain> <48199A35.2000609@woh.rr.com> <20080501125258.M93844@ccrma.Stanford.EDU> <20080503111739.M97469@ccrma.Stanford.EDU> <481C5465.8050304@woh.rr.com> <20080503124013.M82863@ccrma.Stanford.EDU> <1209828432.26813.5.camel@localhost.localdomain> <20080503224924.M5324@ccrma.Stanford.EDU> <481CF99B.7060901@cesmail.net> Message-ID: <20080504191807.M33010@ccrma.Stanford.EDU> music5 lives! I just got all three passes to take one of Max's examples, and produce the correct (not-very-musical) output. Now to clean up this mess... From nando at ccrma.Stanford.EDU Sun May 4 23:53:01 2008 From: nando at ccrma.Stanford.EDU (Fernando Lopez-Lezcano) Date: Mon, 05 May 2008 08:53:01 +0200 Subject: [CM] music5 In-Reply-To: <20080504191807.M33010@ccrma.Stanford.EDU> References: <20080430194406.M87541@ccrma.Stanford.EDU> <1209629910.23710.7.camel@localhost.localdomain> <48199A35.2000609@woh.rr.com> <20080501125258.M93844@ccrma.Stanford.EDU> <20080503111739.M97469@ccrma.Stanford.EDU> <481C5465.8050304@woh.rr.com> <20080503124013.M82863@ccrma.Stanford.EDU> <1209828432.26813.5.camel@localhost.localdomain> <20080503224924.M5324@ccrma.Stanford.EDU> <481CF99B.7060901@cesmail.net> <20080504191807.M33010@ccrma.Stanford.EDU> Message-ID: <1209970381.9600.17.camel@dhcppc0> On Sun, 2008-05-04 at 12:19 -0700, Bill Schottstaedt wrote: > music5 lives! I just got all three passes to take one of Max's > examples, and produce the correct (not-very-musical) output. > Now to clean up this mess... Wow, I'm impressed! Very good news, I think. Maybe you could put out a "call for old scores" in the appropriate email lists? :-) (is there anything that needs to be packaged for this to work in Planet CCRMA?) -- Fernando From bil at ccrma.Stanford.EDU Mon May 5 04:02:14 2008 From: bil at ccrma.Stanford.EDU (Bill Schottstaedt) Date: Mon, 5 May 2008 04:02:14 -0700 Subject: [CM] music5 In-Reply-To: <1209970381.9600.17.camel@dhcppc0> References: <20080430194406.M87541@ccrma.Stanford.EDU> <1209629910.23710.7.camel@localhost.localdomain> <48199A35.2000609@woh.rr.com> <20080501125258.M93844@ccrma.Stanford.EDU> <20080503111739.M97469@ccrma.Stanford.EDU> <481C5465.8050304@woh.rr.com> <20080503124013.M82863@ccrma.Stanford.EDU> <1209828432.26813.5.camel@localhost.localdomain> <20080503224924.M5324@ccrma.Stanford.EDU> <481CF99B.7060901@cesmail.net> <20080504191807.M33010@ccrma.Stanford.EDU> <1209970381.9600.17.camel@dhcppc0> Message-ID: <20080505105516.M60109@ccrma.Stanford.EDU> > (is there anything that needs to be packaged for this to work in Planet CCRMA?) what a hack that would be! It requires only gfortran (or probably any f77, f90, f95, f2003) -- I'm a bit unclear on this, but I have used "open" with all the special parameters to write raw sound output, and I use character arrays. It's easy to replace the binary output with text output, if needed, and I have a little bit of Scheme code to turn that into a sound file. I was planning to leave it as 2 or 3 files, 1 file of examples from Max's book, the other containing the 3 passes, but for packaging I suppose we should keep the 3 passes separate. But anything you like is fine -- I think it's a great idea! From dlphillips at woh.rr.com Mon May 5 05:03:25 2008 From: dlphillips at woh.rr.com (Dave Phillips) Date: Mon, 05 May 2008 08:03:25 -0400 Subject: [CM] music5 In-Reply-To: <1209970381.9600.17.camel@dhcppc0> References: <20080430194406.M87541@ccrma.Stanford.EDU> <1209629910.23710.7.camel@localhost.localdomain> <48199A35.2000609@woh.rr.com> <20080501125258.M93844@ccrma.Stanford.EDU> <20080503111739.M97469@ccrma.Stanford.EDU> <481C5465.8050304@woh.rr.com> <20080503124013.M82863@ccrma.Stanford.EDU> <1209828432.26813.5.camel@localhost.localdomain> <20080503224924.M5324@ccrma.Stanford.EDU> <481CF99B.7060901@cesmail.net> <20080504191807.M33010@ccrma.Stanford.EDU> <1209970381.9600.17.camel@dhcppc0> Message-ID: <481EF78D.2020609@woh.rr.com> Fernando Lopez-Lezcano wrote: > On Sun, 2008-05-04 at 12:19 -0700, Bill Schottstaedt wrote: > >> music5 lives! I just got all three passes to take one of Max's >> examples, and produce the correct (not-very-musical) output. >> Now to clean up this mess... >> > > Wow, I'm impressed! "Return with us now to the thrilling days of yesteryear..." Hmm, perhaps all this activity will spark a FORTRAN/mainframe Renaissance ? Next, we march on COBOL ! ;-) Best, dp From taube at uiuc.edu Mon May 5 06:09:51 2008 From: taube at uiuc.edu (Heinrich Taube) Date: Mon, 5 May 2008 08:09:51 -0500 Subject: [CM] improved csound port win32/osx Message-ID: <97C405F6-AD1B-4BA7-B683-4FE3ECF64514@uiuc.edu> ive updated the beta grace/cm3 binaries with improvements to csound support: o csound port now processes audio correctly on windows o can send string pfield data (csound allows 1 pfield per statement to be a string) o port can be in score capture mode even if port is open o port can record realtime output to score o new methods added to port :"cs:score" "cs:clear" cs:record" "cs:print" "cs:play" documentation on the new methods is here: http://pinhead.music.uiuc.edu/~hkt/grace/doc/cm.html#csound-port osx/x86/leopard: http://pinhead.music.uiuc.edu/~hkt/Grace-cm3-csound-beta-osx-x86-leopard.zip win32: http://pinhead.music.uiuc.edu/~hkt/Grace-cm3-beta-win32.zip ive included the dependant csound libs in the windows zip but I cant get it to use the libs so you may have to put them in c:/program files/ csound/bin . if someone knows how to get .dll loading from the app directory on windows please let me know -------------- next part -------------- An HTML attachment was scrubbed... URL: From taube at uiuc.edu Mon May 5 06:14:25 2008 From: taube at uiuc.edu (Heinrich Taube) Date: Mon, 5 May 2008 08:14:25 -0500 Subject: [CM] improved csound port win32/osx In-Reply-To: <97C405F6-AD1B-4BA7-B683-4FE3ECF64514@uiuc.edu> References: <97C405F6-AD1B-4BA7-B683-4FE3ECF64514@uiuc.edu> Message-ID: <2219206E-3CB1-4667-93B3-476DD056B3E7@uiuc.edu> forgot to say the place to start is to load "Sending data to Csound" in the Help>Examples> menu all cm examples are also now automatically html-ized: http://pinhead.music.uiuc.edu/~hkt/grace/doc/examples/ From bil at ccrma.Stanford.EDU Mon May 5 06:18:00 2008 From: bil at ccrma.Stanford.EDU (Bill Schottstaedt) Date: Mon, 5 May 2008 06:18:00 -0700 Subject: [CM] music5 In-Reply-To: <481EF78D.2020609@woh.rr.com> References: <20080430194406.M87541@ccrma.Stanford.EDU> <1209629910.23710.7.camel@localhost.localdomain> <48199A35.2000609@woh.rr.com> <20080501125258.M93844@ccrma.Stanford.EDU> <20080503111739.M97469@ccrma.Stanford.EDU> <481C5465.8050304@woh.rr.com> <20080503124013.M82863@ccrma.Stanford.EDU> <1209828432.26813.5.camel@localhost.localdomain> <20080503224924.M5324@ccrma.Stanford.EDU> <481CF99B.7060901@cesmail.net> <20080504191807.M33010@ccrma.Stanford.EDU> <1209970381.9600.17.camel@dhcppc0> <481EF78D.2020609@woh.rr.com> Message-ID: <20080505131601.M5061@ccrma.Stanford.EDU> If you'd like to time-travel today, I moved the old XGP version to old-music5.f, added the new music5.f (see the start of that file for instructions on how to build it), and added music5-examples which currently has the only example I've actually tried. I don't know why you have to put a space in column 1. From znmeb at cesmail.net Mon May 5 06:44:15 2008 From: znmeb at cesmail.net (M. Edward (Ed) Borasky) Date: Mon, 05 May 2008 06:44:15 -0700 Subject: [CM] music5 In-Reply-To: <20080505131601.M5061@ccrma.Stanford.EDU> References: <20080430194406.M87541@ccrma.Stanford.EDU> <1209629910.23710.7.camel@localhost.localdomain> <48199A35.2000609@woh.rr.com> <20080501125258.M93844@ccrma.Stanford.EDU> <20080503111739.M97469@ccrma.Stanford.EDU> <481C5465.8050304@woh.rr.com> <20080503124013.M82863@ccrma.Stanford.EDU> <1209828432.26813.5.camel@localhost.localdomain> <20080503224924.M5324@ccrma.Stanford.EDU> <481CF99B.7060901@cesmail.net> <20080504191807.M33010@ccrma.Stanford.EDU> <1209970381.9600.17.camel@dhcppc0> <481EF78D.2020609@woh.rr.com> <20080505131601.M5061@ccrma.Stanford.EDU> Message-ID: <481F0F2F.5000405@cesmail.net> Bill Schottstaedt wrote: > If you'd like to time-travel today, I moved the old XGP version > to old-music5.f, added the new music5.f (see the start of > that file for instructions on how to build it), and added > music5-examples which currently has the only example > I've actually tried. I don't know why you have to put a space > in column 1. Is it using the Fortran comment convention? IIRC some compilers would take either C or * in column 1 as signaling a comment, and some even took anything but a space or a digit as a comment. > > > > _______________________________________________ > Cmdist mailing list > Cmdist at ccrma.stanford.edu > http://ccrma-mail.stanford.edu/mailman/listinfo/cmdist > From fitzpatrickd at boystown.org Mon May 5 07:03:48 2008 From: fitzpatrickd at boystown.org (Fitzpatrick, Denis F) Date: Mon, 5 May 2008 09:03:48 -0500 Subject: [CM] improved csound port win32/osx In-Reply-To: <97C405F6-AD1B-4BA7-B683-4FE3ECF64514@uiuc.edu> References: <97C405F6-AD1B-4BA7-B683-4FE3ECF64514@uiuc.edu> Message-ID: I think you meant this link, which works great, thanks@! grace+csound WIN32: http://pinhead.music.uiuc.edu/~hkt/Grace-cm3-csound-beta-win32.zip ________________________________ From: cmdist-bounces at ccrma.Stanford.EDU [mailto:cmdist-bounces at ccrma.Stanford.EDU] On Behalf Of Heinrich Taube Sent: Monday, May 05, 2008 8:10 AM To: commonmusic-Mailing-List List Subject: [CM] improved csound port win32/osx ive updated the beta grace/cm3 binaries with improvements to csound support: o csound port now processes audio correctly on windows o can send string pfield data (csound allows 1 pfield per statement to be a string) o port can be in score capture mode even if port is open o port can record realtime output to score o new methods added to port :"cs:score" "cs:clear" cs:record" "cs:print" "cs:play" documentation on the new methods is here: http://pinhead.music.uiuc.edu/~hkt/grace/doc/cm.html#csound-port osx/x86/leopard: http://pinhead.music.uiuc.edu/~hkt/Grace-cm3-csound-beta-osx-x86-leopard.zip win32: http://pinhead.music.uiuc.edu/~hkt/Grace-cm3-beta-win32.zip ive included the dependant csound libs in the windows zip but I cant get it to use the libs so you may have to put them in c:/program files/csound/bin . if someone knows how to get .dll loading from the app directory on windows please let me know -------------- next part -------------- An HTML attachment was scrubbed... URL: From taube at uiuc.edu Mon May 5 07:30:34 2008 From: taube at uiuc.edu (Heinrich Taube) Date: Mon, 5 May 2008 09:30:34 -0500 Subject: [CM] improved csound port win32/osx In-Reply-To: References: <97C405F6-AD1B-4BA7-B683-4FE3ECF64514@uiuc.edu> Message-ID: yes exactly. thanks for the correction denis On May 5, 2008, at 9:03 AM, Fitzpatrick, Denis F wrote: > I think you meant this link, which works great, thanks@! > > grace+csound WIN32: > http://pinhead.music.uiuc.edu/~hkt/Grace-cm3-csound-beta-win32.zip > From juanig at ccrma.Stanford.EDU Tue May 6 14:37:02 2008 From: juanig at ccrma.Stanford.EDU (Juan I Reyes) Date: Tue, 06 May 2008 17:37:02 -0400 Subject: [CM] music5 In-Reply-To: <481EF78D.2020609@woh.rr.com> References: <20080430194406.M87541@ccrma.Stanford.EDU> <1209629910.23710.7.camel@localhost.localdomain> <48199A35.2000609@woh.rr.com> <20080501125258.M93844@ccrma.Stanford.EDU> <20080503111739.M97469@ccrma.Stanford.EDU> <481C5465.8050304@woh.rr.com> <20080503124013.M82863@ccrma.Stanford.EDU> <1209828432.26813.5.camel@localhost.localdomain> <20080503224924.M5324@ccrma.Stanford.EDU> <481CF99B.7060901@cesmail.net> <20080504191807.M33010@ccrma.Stanford.EDU> <1209970381.9600.17.camel@dhcppc0> <481EF78D.2020609@woh.rr.com> Message-ID: <1210109822.3315.148.camel@strawberry.maginvent.org> > > Next, we march on COBOL ! > I'll rather vote for Assembler. Not so great memories of payroll programs :-] Thanks for Music5 and all these memories on the list. --* Juan From nando at ccrma.Stanford.EDU Tue May 6 14:43:04 2008 From: nando at ccrma.Stanford.EDU (Fernando Lopez-Lezcano) Date: Tue, 06 May 2008 23:43:04 +0200 Subject: [CM] music5 In-Reply-To: <20080505105516.M60109@ccrma.Stanford.EDU> References: <20080430194406.M87541@ccrma.Stanford.EDU> <1209629910.23710.7.camel@localhost.localdomain> <48199A35.2000609@woh.rr.com> <20080501125258.M93844@ccrma.Stanford.EDU> <20080503111739.M97469@ccrma.Stanford.EDU> <481C5465.8050304@woh.rr.com> <20080503124013.M82863@ccrma.Stanford.EDU> <1209828432.26813.5.camel@localhost.localdomain> <20080503224924.M5324@ccrma.Stanford.EDU> <481CF99B.7060901@cesmail.net> <20080504191807.M33010@ccrma.Stanford.EDU> <1209970381.9600.17.camel@dhcppc0> <20080505105516.M60109@ccrma.Stanford.EDU> Message-ID: <1210110184.3079.3.camel@localhost.localdomain> On Mon, 2008-05-05 at 04:02 -0700, Bill Schottstaedt wrote: > > (is there anything that needs to be packaged for this to work > > in Planet CCRMA?) > > what a hack that would be! It requires only gfortran (or probably > any f77, f90, f95, f2003) -- I'm a bit unclear on this, gcc-gfortran is available in the normal repositories. Is that what you used? If so this should be easy (famous last words). > but I have used "open" with all the special parameters to write > raw sound output, and I use character arrays. It's easy to > replace the binary output with text output, if needed, and > I have a little bit of Scheme code to turn that into a sound file. > I was planning to leave it as 2 or 3 files, 1 file of examples > from Max's book, the other containing the 3 passes, but > for packaging I suppose we should keep the 3 passes separate. > But anything you like is fine -- I think it's a great idea! I would be happy to hack a bit on this if you tell me what's required. Fun! :-) -- Fernando From bil at ccrma.Stanford.EDU Tue May 6 15:03:06 2008 From: bil at ccrma.Stanford.EDU (Bill Schottstaedt) Date: Tue, 6 May 2008 15:03:06 -0700 Subject: [CM] music5 In-Reply-To: <1210110184.3079.3.camel@localhost.localdomain> References: <20080430194406.M87541@ccrma.Stanford.EDU> <1209629910.23710.7.camel@localhost.localdomain> <48199A35.2000609@woh.rr.com> <20080501125258.M93844@ccrma.Stanford.EDU> <20080503111739.M97469@ccrma.Stanford.EDU> <481C5465.8050304@woh.rr.com> <20080503124013.M82863@ccrma.Stanford.EDU> <1209828432.26813.5.camel@localhost.localdomain> <20080503224924.M5324@ccrma.Stanford.EDU> <481CF99B.7060901@cesmail.net> <20080504191807.M33010@ccrma.Stanford.EDU> <1209970381.9600.17.camel@dhcppc0> <20080505105516.M60109@ccrma.Stanford.EDU> <1210110184.3079.3.camel@localhost.localdomain> Message-ID: <20080506215330.M16226@ccrma.Stanford.EDU> > gcc-gfortran is available in the normal repositories. Is that what you > used? If so this should be easy (famous last words). Yes, that's the fortran I used. Currently, you need to split music5.f into 3 pieces, compile each, and then run them one after the other to get sound. I guess it's best packaged as the 3 passes + the example file + a script to run them. "music5" could be the script's name. From bil at ccrma.Stanford.EDU Tue May 6 15:35:35 2008 From: bil at ccrma.Stanford.EDU (Bill Schottstaedt) Date: Tue, 6 May 2008 15:35:35 -0700 Subject: [CM] music5 In-Reply-To: <1210109822.3315.148.camel@strawberry.maginvent.org> References: <20080430194406.M87541@ccrma.Stanford.EDU> <1209629910.23710.7.camel@localhost.localdomain> <48199A35.2000609@woh.rr.com> <20080501125258.M93844@ccrma.Stanford.EDU> <20080503111739.M97469@ccrma.Stanford.EDU> <481C5465.8050304@woh.rr.com> <20080503124013.M82863@ccrma.Stanford.EDU> <1209828432.26813.5.camel@localhost.localdomain> <20080503224924.M5324@ccrma.Stanford.EDU> <481CF99B.7060901@cesmail.net> <20080504191807.M33010@ccrma.Stanford.EDU> <1209970381.9600.17.camel@dhcppc0> <481EF78D.2020609@woh.rr.com> <1210109822.3315.148.camel@strawberry.maginvent.org> Message-ID: <20080506223431.M6245@ccrma.Stanford.EDU> Speaking of memories... I noticed my Mac has a built-in camera, and took a photo -- at the end of the SAIL code for my beloved violin in sndscm.html -- I'll regret this in about 30 minutes... From bil at ccrma.Stanford.EDU Wed May 7 12:53:56 2008 From: bil at ccrma.Stanford.EDU (Bill Schottstaedt) Date: Wed, 7 May 2008 12:53:56 -0700 Subject: [CM] music5 Message-ID: <20080507195000.M78077@ccrma.Stanford.EDU> To follow up a previous reference, I asked Max whence the name "Harvey", and, as I sort of suspected, it is a reference to the invisible rabbit. I was thinking about the planetCCRMA package -- this is a program that expects its users to rewrite it -- maybe it's best after all to simply provide the source. There's very little you can do with the straight version. From nando at ccrma.Stanford.EDU Wed May 7 13:15:53 2008 From: nando at ccrma.Stanford.EDU (Fernando Lopez-Lezcano) Date: Wed, 07 May 2008 22:15:53 +0200 Subject: [CM] music5 In-Reply-To: <20080507195000.M78077@ccrma.Stanford.EDU> References: <20080507195000.M78077@ccrma.Stanford.EDU> Message-ID: <1210191353.32480.17.camel@localhost.localdomain> On Wed, 2008-05-07 at 12:53 -0700, Bill Schottstaedt wrote: > To follow up a previous reference, I asked Max whence the > name "Harvey", and, as I sort of suspected, it is a reference > to the invisible rabbit. > > I was thinking about the planetCCRMA package -- this is > a program that expects its users to rewrite it -- maybe it's > best after all to simply provide the source. There's very > little you can do with the straight version. Yeah, that might be best. I thought briefly about this and it occurred to me that all the source has to definitely be part of the package. I still have to look at it, but I imagine a ready to run binary would not be bad either (for demos, etc). But then it may not be useful at all (don't know yet). -- Fernando PS: What would be interesting is to have an emulator. You know, like the shiny plugins on exotic platforms like xp and osx that look _exactly_ like the analog synths they (try to) emulate. We have to have one for the card reader. And make it so the only way to input programs is through virtual cards that you have to punch in a virtual, emulated punch card machine (with sound effects, I still remember the sound)... http://www.tietokonemuseo.saunalahti.fi/eng/kuva_10_eng.htm From pianohenry at yahoo.com Thu May 8 13:00:04 2008 From: pianohenry at yahoo.com (Henry Feinberg) Date: Thu, 8 May 2008 16:00:04 -0400 Subject: [CM] Notes from the Metalevel Message-ID: <2A1FFC0C-D120-4FCB-9E52-22D25AE6166F@yahoo.com> I just bought th e book "Notes from the Metalevel" and the CD that comes with the book is obsolete for my operating system - an Imac - Tiger 10.4.1 What do you suggest I do? The book say that the CD is necessary to learn the rest of the book. I'm totally new to programming with Lisp or any other program. Do you have any suggestions. Henry Feinberg pianohenry at yahoo.com From noah at listenlabs.com Thu May 8 20:17:59 2008 From: noah at listenlabs.com (Noah Thorp) Date: Thu, 08 May 2008 20:17:59 -0700 Subject: [CM] Bay Area Computer Music Technology Group @ UCSC with David Cope and Peter Elsea - Sunday May 11 Message-ID: <4823C267.7020807@listenlabs.com> Bay Area Computer Music Technology Group (BArCMuT) Sunday afternoon presentations by David Cope and Peter Elsea Sunday, May 11, 2008 at 1:00 PM Music Building @ University of California, Santa Cruz, CA 95064 RSVP: http://electronicmusic.meetup.com/152/calendar/7516169/ Thank you to David Cope and Peter Elsea for hosting the Bay Area Computer Music Technology Group (BArCMuT) for a Sunday afternoon at University of Santa Cruz! This Sunday's presentations: - David Cope will discuss and demonstrate his work with his computer program Experiments in Musical Intelligence. This will include a world premiere of a work by Emmy-Bach never before heard. - Peter Elsea will give a tour of the facilities and a presentation on recent work using Max/MSP for algorithmic composition with visualizations. If you are not familiar with David Cope's work, it represents a landmark moment in computer creativity (similar to Kurzweil's AARON application in the visual sphere). Cope's Experiments in Musical Intelligence set the bar for generative music by analyzing scores and writing new pieces in the style of the composer analyzed. If the turing test was a musical one, experiments in musical intelligence would be likely to pass the test. Those who encounter this work are often excited or even frightened by its implications. I encourage you to come and engage in this important work directly. You can listen to realizations of Cope's experiments in musical intelligence scores here (listen to "After Bach", "After Beethoven", etc. - there might be a lag before playing): http://arts.ucsc.edu/faculty/cope/mp3page.htm Peter Elsea's presentations will give us a window into this frequent computer music community contributor's latest works. It will be exciting to see his new approaches to visualization and algorithmic composition and also get a sense of the UCSC studios he stewards. All the best, Noah Thorp Organizer Bay Area Computer Music Technology Group (BArCMuT) DIRECTIONS UCSC is not very google maps friendly. Here is the lat/lon location of the music building: http://maps.google.com/maps/ms?ie=UTF8&hl=en&msa=0&msid=104428095974959315351.00044c9b3fa164b7ff88f&t=h&z=19 Here are the directions from UCSC: http://maps.ucsc.edu/cdmusic.html There will be a machine dispensing parking permits for $2. The music center is the concrete complex at the far end of the parking lot. Go all the way to the plaza overlooking the bay, and look left for the building entrance. There will be signs to the proper room. BIOS DAVID COPE ( http://arts.ucsc.edu/faculty/cope/index.html ), Professor Emeritus of Music at UC Santa Cruz, teaches in the annual Workshop in Algorithmic Computer Music (WACM) held in June-July at UC Santa Cruz. Cope's books on modern music include New Directions in Music (seventh edition), Techniques of the Contemporary Composer, and New Music Notation. His books on the intersection of music and computer science include Computers and Musical Style, Experiments in Musical Intelligence, The Algorithmic Composer, Virtual Music, Computer Models of Musical Creativity, and Hidden Structure (available through most online book sellers) and describe the computer program Experiments in Musical Intelligence which he created in 1981. Recordings of his music appear on Centaur, Smithsonian Folkways, Opus One, and Vienna Modern Masters and include a wide diversity of works, from large ensembles to soloists with electronic and computer-generated tape. PETER ELSEA ( http://arts.ucsc.edu/EMS/Music/PQE/More_PQE.html ) is the director of the UCSC Electronic Music Program. He is known world-wide for his "Lobjects" software for the Max/MSP music programming environment, and his tutorials for that language are in use at most major electronic music institutions. Google reports more than 1000 links to his internet articles on music technology, which have been on line since 1994. In addition to his work in composition and synthesis, he has been for some years exploring the combination of sound and light using high speed computers. Part of his visual collaboration with Mesut Ozgen, "New Dimensions in Classical Guitar" (seen at UCSC in 2004) was recently presented in Istanbul. From noah at listenlabs.com Thu May 8 20:19:06 2008 From: noah at listenlabs.com (Noah Thorp) Date: Thu, 08 May 2008 20:19:06 -0700 Subject: [CM] Bay Area Computer Music Technology Group @ UCSC with David Cope and Peter Elsea - Sunday May 11 Message-ID: <4823C2AA.9060107@listenlabs.com> Bay Area Computer Music Technology Group (BArCMuT) Sunday afternoon presentations by David Cope and Peter Elsea Sunday, May 11, 2008 at 1:00 PM Music Building @ University of California, Santa Cruz, CA 95064 RSVP: http://electronicmusic.meetup.com/152/calendar/7516169/ Thank you to David Cope and Peter Elsea for hosting the Bay Area Computer Music Technology Group (BArCMuT) for a Sunday afternoon at University of Santa Cruz! This Sunday's presentations: - David Cope will discuss and demonstrate his work with his computer program Experiments in Musical Intelligence. This will include a world premiere of a work by Emmy-Bach never before heard. - Peter Elsea will give a tour of the facilities and a presentation on recent work using Max/MSP for algorithmic composition with visualizations. If you are not familiar with David Cope's work, it represents a landmark moment in computer creativity (similar to Kurzweil's AARON application in the visual sphere). Cope's Experiments in Musical Intelligence set the bar for generative music by analyzing scores and writing new pieces in the style of the composer analyzed. If the turing test was a musical one, experiments in musical intelligence would be likely to pass the test. Those who encounter this work are often excited or even frightened by its implications. I encourage you to come and engage in this important work directly. You can listen to realizations of Cope's experiments in musical intelligence scores here (listen to "After Bach", "After Beethoven", etc. - there might be a lag before playing): http://arts.ucsc.edu/faculty/cope/mp3page.htm Peter Elsea's presentations will give us a window into this frequent computer music community contributor's latest works. It will be exciting to see his new approaches to visualization and algorithmic composition and also get a sense of the UCSC studios he stewards. All the best, Noah Thorp Organizer Bay Area Computer Music Technology Group (BArCMuT) DIRECTIONS UCSC is not very google maps friendly. Here is the lat/lon location of the music building: http://maps.google.com/maps/ms?ie=UTF8&hl=en&msa=0&msid=104428095974959315351.00044c9b3fa164b7ff88f&t=h&z=19 Here are the directions from UCSC: http://maps.ucsc.edu/cdmusic.html There will be a machine dispensing parking permits for $2. The music center is the concrete complex at the far end of the parking lot. Go all the way to the plaza overlooking the bay, and look left for the building entrance. There will be signs to the proper room. BIOS DAVID COPE ( http://arts.ucsc.edu/faculty/cope/index.html ), Professor Emeritus of Music at UC Santa Cruz, teaches in the annual Workshop in Algorithmic Computer Music (WACM) held in June-July at UC Santa Cruz. Cope's books on modern music include New Directions in Music (seventh edition), Techniques of the Contemporary Composer, and New Music Notation. His books on the intersection of music and computer science include Computers and Musical Style, Experiments in Musical Intelligence, The Algorithmic Composer, Virtual Music, Computer Models of Musical Creativity, and Hidden Structure (available through most online book sellers) and describe the computer program Experiments in Musical Intelligence which he created in 1981. Recordings of his music appear on Centaur, Smithsonian Folkways, Opus One, and Vienna Modern Masters and include a wide diversity of works, from large ensembles to soloists with electronic and computer-generated tape. PETER ELSEA ( http://arts.ucsc.edu/EMS/Music/PQE/More_PQE.html ) is the director of the UCSC Electronic Music Program. He is known world-wide for his "Lobjects" software for the Max/MSP music programming environment, and his tutorials for that language are in use at most major electronic music institutions. Google reports more than 1000 links to his internet articles on music technology, which have been on line since 1994. In addition to his work in composition and synthesis, he has been for some years exploring the combination of sound and light using high speed computers. Part of his visual collaboration with Mesut Ozgen, "New Dimensions in Classical Guitar" (seen at UCSC in 2004) was recently presented in Istanbul. From vogelrl at ct.metrocast.net Fri May 9 09:27:13 2008 From: vogelrl at ct.metrocast.net (Robert Vogel) Date: Fri, 09 May 2008 12:27:13 -0400 Subject: [CM] Bay Area Computer Music Technology Group @ UCSC with David Cope and Peter Elsea - Sunday May 11 In-Reply-To: <4823C267.7020807@listenlabs.com> References: <4823C267.7020807@listenlabs.com> Message-ID: <1210350433.17162.2.camel@localhost> Since I live in Connecticut, it is a little too far to travel for this meeting much as I would like to be there. If someone could manage a video recording, I would purchase a copy. Bob On Thu, 2008-05-08 at 20:17 -0700, Noah Thorp wrote: > Bay Area Computer Music Technology Group (BArCMuT) > Sunday afternoon presentations by David Cope and Peter Elsea > Sunday, May 11, 2008 at 1:00 PM > Music Building @ University of California, Santa Cruz, CA 95064 > RSVP: http://electronicmusic.meetup.com/152/calendar/7516169/ > > Thank you to David Cope and Peter Elsea for hosting the Bay Area > Computer Music Technology Group (BArCMuT) for a Sunday afternoon at > University of Santa Cruz! > > This Sunday's presentations: > - David Cope will discuss and demonstrate his work with his computer > program Experiments in Musical Intelligence. This will include a world > premiere of a work by Emmy-Bach never before heard. > - Peter Elsea will give a tour of the facilities and a presentation on > recent work using Max/MSP for algorithmic composition with visualizations. > > If you are not familiar with David Cope's work, it represents a landmark > moment in computer creativity (similar to Kurzweil's AARON application > in the visual sphere). Cope's Experiments in Musical Intelligence set > the bar for generative music by analyzing scores and writing new pieces > in the style of the composer analyzed. If the turing test was a musical > one, experiments in musical intelligence would be likely to pass the > test. Those who encounter this work are often excited or even frightened > by its implications. I encourage you to come and engage in this > important work directly. You can listen to realizations of Cope's > experiments in musical intelligence scores here (listen to "After Bach", > "After Beethoven", etc. - there might be a lag before playing): > http://arts.ucsc.edu/faculty/cope/mp3page.htm > > Peter Elsea's presentations will give us a window into this frequent > computer music community contributor's latest works. It will be exciting > to see his new approaches to visualization and algorithmic composition > and also get a sense of the UCSC studios he stewards. > > All the best, > Noah Thorp > Organizer > Bay Area Computer Music Technology Group (BArCMuT) > > DIRECTIONS > > UCSC is not very google maps friendly. Here is the lat/lon location of > the music building: > http://maps.google.com/maps/ms?ie=UTF8&hl=en&msa=0&msid=104428095974959315351.00044c9b3fa164b7ff88f&t=h&z=19 > > Here are the directions from UCSC: > http://maps.ucsc.edu/cdmusic.html > > There will be a machine dispensing parking permits for $2. The music > center is the concrete complex at the far end of the parking lot. Go all > the way to the plaza overlooking the bay, and look left for the building > entrance. There will be signs to the proper room. > > BIOS > > DAVID COPE ( http://arts.ucsc.edu/faculty/cope/index.html ), Professor > Emeritus of Music at UC Santa Cruz, teaches in the annual Workshop in > Algorithmic Computer Music (WACM) held in June-July at UC Santa Cruz. > Cope's books on modern music include New Directions in Music (seventh > edition), Techniques of the Contemporary Composer, and New Music > Notation. His books on the intersection of music and computer science > include Computers and Musical Style, Experiments in Musical > Intelligence, The Algorithmic Composer, Virtual Music, Computer Models > of Musical Creativity, and Hidden Structure (available through most > online book sellers) and describe the computer program Experiments in > Musical Intelligence which he created in 1981. Recordings of his music > appear on Centaur, Smithsonian Folkways, Opus One, and Vienna Modern > Masters and include a wide diversity of works, from large ensembles to > soloists with electronic and computer-generated tape. > > PETER ELSEA ( http://arts.ucsc.edu/EMS/Music/PQE/More_PQE.html ) is the > director of the UCSC Electronic Music Program. He is known world-wide > for his "Lobjects" software for the Max/MSP music programming > environment, and his tutorials for that language are in use at most > major electronic music institutions. Google reports more than 1000 links > to his internet articles on music technology, which have been on line > since 1994. In addition to his work in composition and synthesis, he has > been for some years exploring the combination of sound and light using > high speed computers. Part of his visual collaboration with Mesut Ozgen, > "New Dimensions in Classical Guitar" (seen at UCSC in 2004) was recently > presented in Istanbul. > > _______________________________________________ > Cmdist mailing list > Cmdist at ccrma.stanford.edu > http://ccrma-mail.stanford.edu/mailman/listinfo/cmdist From sgsofia at myuw.net Fri May 9 10:18:04 2008 From: sgsofia at myuw.net (sal g sofia) Date: Fri, 9 May 2008 10:18:04 -0700 (PDT) Subject: [CM] Copy and Paste (?) Message-ID: Hello! I would like to paste some code from a file (BBedit or Safari) into the Snd listener but Snd will not do it. Any suggestions will be welcomed. Thank you and Regards --Sal On a Mac G4 Version 10.4.11 ================ This is Snd version 9.10 of 28-Apr-08: Guile: 1.6.7, Xen: 2.13 Mac OSX audio Sndlib 20.6 (28-Mar-08, float samples) CLM 4.7 (12-Apr-08) fftw-3.0 Motif 2.2.2 X11R6 xm: 26-Aug-06 Xpm 3.4.11 with large file support Compiled May 7 2008 14:45:27 C: 4.0.1 (Apple Computer, Inc. build 5247) host: powerpc-apple-darwin8.11.0 ============================================= From k.s.matheussen at notam02.no Fri May 9 10:51:08 2008 From: k.s.matheussen at notam02.no (Kjetil S. Matheussen) Date: Fri, 09 May 2008 19:51:08 +0200 (CEST) Subject: [CM] Copy and Paste (?) In-Reply-To: References: Message-ID: On Fri, 9 May 2008, sal g sofia wrote: > > Hello! > > I would like to paste some code from a file (BBedit or Safari) into the > Snd listener but Snd will not do it. Any suggestions will be welcomed. > > Thank you and Regards > Snd's listener doesn't work like a terminal, unfortunately, so you have to be careful to paste into the last line. Personally I think thaht very inconvenient, but Bill said it was modeled after how the listener works in Emacs. I don't know if that is a very good idea though, because you have the same pasting problem in the emacs listener as well, but perhaps someone uses the emacs listener in a more efficient way such that its worth having a less convenient pasting-interface. Anyhow, by pasting into the terminal you started Snd from instead, it should always work. From bil at ccrma.Stanford.EDU Fri May 9 11:17:16 2008 From: bil at ccrma.Stanford.EDU (Bill Schottstaedt) Date: Fri, 9 May 2008 11:17:16 -0700 Subject: [CM] Copy and Paste (?) In-Reply-To: References: Message-ID: <20080509181318.M37467@ccrma.Stanford.EDU> > > I would like to paste some code from a file (BBedit or Safari) into the > > Snd listener but Snd will not do it. Any suggestions will be welcomed. I take it this is on a Mac? It doesn't work for me either in Motif -- are you using Motif or Gtk? There are a bunch of problems with the Motif port -- the file dialogs are mostly disabled, for example. I don't remember any constraint about pasting stuff at the end -- I think you can paste anywhere, but the listener looks for the prompt character. I know copy-and-paste works in Linux (from firefox for example) because I do it all the time. From bil at ccrma.Stanford.EDU Fri May 9 11:19:10 2008 From: bil at ccrma.Stanford.EDU (Bill Schottstaedt) Date: Fri, 9 May 2008 11:19:10 -0700 Subject: [CM] Copy and Paste (?) In-Reply-To: References: Message-ID: <20080509181839.M64756@ccrma.Stanford.EDU> oops -- I just noticed you sent all that info. I'll try to see what's wrong with Motif on the mac... From taube at uiuc.edu Fri May 9 11:25:36 2008 From: taube at uiuc.edu (taube at uiuc.edu) Date: Fri, 9 May 2008 13:25:36 -0500 (CDT) Subject: [CM] Copy and Paste (?) Message-ID: <20080509132536.BEE81013@expms6.cites.uiuc.edu> it might be an X11.app issue -- its been several years not but I seem to rememeber there was some Preference for copy/paste that I had to set in the X11.app itself. ---- Original message ---- >Date: Fri, 9 May 2008 11:19:10 -0700 >From: "Bill Schottstaedt" >Subject: Re: [CM] Copy and Paste (?) >To: sal g sofia , cmdist at ccrma.Stanford.EDU > >oops -- I just noticed you sent all that info. I'll try to >see what's wrong with Motif on the mac... > > > >_______________________________________________ >Cmdist mailing list >Cmdist at ccrma.stanford.edu >http://ccrma-mail.stanford.edu/mailman/listinfo/cmdist From taube at uiuc.edu Fri May 9 11:37:53 2008 From: taube at uiuc.edu (taube at uiuc.edu) Date: Fri, 9 May 2008 13:37:53 -0500 (CDT) Subject: [CM] Notes from the Metalevel Message-ID: <20080509133753.BEE82229@expms6.cites.uiuc.edu> Hi, I think maybe I will have to make a new image of the CD with updated contents for intel mac ( Aquamacs, SBCL etc. _ I have just contacted the pubisher about this because i think they will do a second printing. But really, I should just rewrite the book's examples for Grace+CM3! that would be a much friendlier environment for working with the examples than what I have on that CD, which is years old now. But of course it wouldnt correspond exactly with what you see in the book. You could try downloading Grace to start learning the first chapters. I will look at porting the examples once school is done next week. Its beta software, but my advanced class just finished some real pieces with it so its basically working. You can use Scheme or the (easier to learn) SAL syntax: http://pinhead.music.uiuc.edu/~hkt/grace-cm3-beta-osx-universal.zip best, rick ---- Original message ---- >Date: Thu, 8 May 2008 16:00:04 -0400 >From: Henry Feinberg >Subject: [CM] Notes from the Metalevel >To: cmdist at ccrma.Stanford.EDU > >I just bought th e book "Notes from the Metalevel" and the CD that >comes with the book is obsolete for my operating system - an Imac - >Tiger 10.4.1 What do you suggest I do? The book say that the CD is >necessary to learn the rest of the book. I'm totally new to >programming with Lisp or any other program. Do you have any suggestions. > >Henry Feinberg >pianohenry at yahoo.com > >_______________________________________________ >Cmdist mailing list >Cmdist at ccrma.stanford.edu >http://ccrma-mail.stanford.edu/mailman/listinfo/cmdist From sgsofia at myuw.net Fri May 9 11:43:26 2008 From: sgsofia at myuw.net (sal g sofia) Date: Fri, 9 May 2008 11:43:26 -0700 (PDT) Subject: [CM] Copy and Paste (?) In-Reply-To: <20080509132536.BEE81013@expms6.cites.uiuc.edu> References: <20080509132536.BEE81013@expms6.cites.uiuc.edu> Message-ID: yes, I did (in X11) customize the terminal to copy and paste but it does not work -- I can copy and paste within Snd in any window but it does not let me paste in (Snd) from an esternal application. Should I recompile with Gtk? does it work with it on a Mac G4? Thank you On Fri, 9 May 2008, taube at uiuc.edu wrote: > it might be an X11.app issue -- its been several years not but > I seem to rememeber there was some Preference for copy/paste that > I had to set in the X11.app itself. > > > > ---- Original message ---- >> Date: Fri, 9 May 2008 11:19:10 -0700 >> From: "Bill Schottstaedt" >> Subject: Re: [CM] Copy and Paste (?) >> To: sal g sofia , cmdist at ccrma.Stanford.EDU >> >> oops -- I just noticed you sent all that info. I'll try to >> see what's wrong with Motif on the mac... >> >> >> >> _______________________________________________ >> Cmdist mailing list >> Cmdist at ccrma.stanford.edu >> http://ccrma-mail.stanford.edu/mailman/listinfo/cmdist > > _______________________________________________ > Cmdist mailing list > Cmdist at ccrma.stanford.edu > http://ccrma-mail.stanford.edu/mailman/listinfo/cmdist > From bil at ccrma.Stanford.EDU Fri May 9 11:43:48 2008 From: bil at ccrma.Stanford.EDU (Bill Schottstaedt) Date: Fri, 9 May 2008 11:43:48 -0700 Subject: [CM] Copy and Paste (?) In-Reply-To: References: Message-ID: <20080509184207.M21763@ccrma.Stanford.EDU> There's a long thread about this in the apple developer X11 list -- I tried several of their suggestions, none of which worked, and one managed to kill X11. I apparently have to implement the clipboard myself. From sgsofia at myuw.net Fri May 9 11:56:37 2008 From: sgsofia at myuw.net (sal g sofia) Date: Fri, 9 May 2008 11:56:37 -0700 (PDT) Subject: [CM] Copy and Paste (?) In-Reply-To: <20080509184207.M21763@ccrma.Stanford.EDU> References: <20080509184207.M21763@ccrma.Stanford.EDU> Message-ID: That would be great! Thank you, --Sal On Fri, 9 May 2008, Bill Schottstaedt wrote: > There's a long thread about this in the apple developer X11 list -- > I tried several of their suggestions, none of which worked, and one managed > to kill X11. I apparently have to implement the clipboard myself. > > > _______________________________________________ > Cmdist mailing list > Cmdist at ccrma.stanford.edu > http://ccrma-mail.stanford.edu/mailman/listinfo/cmdist > From taube at uiuc.edu Fri May 9 12:41:59 2008 From: taube at uiuc.edu (taube at uiuc.edu) Date: Fri, 9 May 2008 14:41:59 -0500 (CDT) Subject: [CM] updated grace-csound/win32 Message-ID: <20080509144159.BEE88872@expms6.cites.uiuc.edu> ive updated the win32 archive of Grace+Csound port to fix a "failed to initialize" problem that someone reported when trying to open Csound. This error was due to a bug that didnt expect spaces in pathnames, so if you restored Grace.zip to your "/Program Files/" directory and then tried to open Csound with the default grace.orc file csound failed to start. Other than that the port seems to be working (you have to install Csound in order to use it...) http://pinhead.music.uiuc.edu/~hkt/Grace-cm3-csound-beta.zip From bil at ccrma.Stanford.EDU Fri May 9 14:02:47 2008 From: bil at ccrma.Stanford.EDU (Bill Schottstaedt) Date: Fri, 9 May 2008 14:02:47 -0700 Subject: [CM] Copy and Paste (?) In-Reply-To: References: <20080509184207.M21763@ccrma.Stanford.EDU> Message-ID: <20080509205846.M65139@ccrma.Stanford.EDU> Gah... I think the only way to copy and paste from Safari into Snd is as Kjetil mentioned -- paste into the terminal (Mac terminal, not X11 xterm) in which you started Snd. I tried a dozen or so more things, and none worked. In Gtk-Snd (on the Mac), you can use the middle button, just as in linux. From sgsofia at myuw.net Fri May 9 15:42:29 2008 From: sgsofia at myuw.net (sal g sofia) Date: Fri, 9 May 2008 15:42:29 -0700 (PDT) Subject: [CM] Copy and Paste (?) In-Reply-To: <20080509205846.M65139@ccrma.Stanford.EDU> References: <20080509184207.M21763@ccrma.Stanford.EDU> <20080509205846.M65139@ccrma.Stanford.EDU> Message-ID: > In Gtk-Snd (on the Mac), you can use the middle button, just as in linux. Thank you, I will most likely recompile it with Gtk and see... thank you again. Regards --Sal From noah at listenlabs.com Fri May 9 20:33:13 2008 From: noah at listenlabs.com (Noah Thorp) Date: Fri, 09 May 2008 20:33:13 -0700 Subject: [CM] Bay Area Computer Music Technology Group @ UCSC with David Cope and Peter Elsea - Sunday May 11 In-Reply-To: <1210350433.17162.2.camel@localhost> References: <4823C267.7020807@listenlabs.com> <1210350433.17162.2.camel@localhost> Message-ID: <48251779.1020207@listenlabs.com> Hi Bob, Regular video taping is still in the works. But, when regular videoing occurs the plan is to post them for general viewing via website, you tube, etc. A few presentations (some footage of Chris Chafe, Jaron Lanier, and Ge @ Expression) have made it onto video. The footage is still in its raw form. Stay tuned :) All the best, Noah Organizer Bay Area Computer Music Technology Group (BArCMuT) > Since I live in Connecticut, it is a little too far to travel for this > meeting much as I would like to be there. If someone could manage a > video recording, I would purchase a copy. > > Bob From aykut_caglayan at yahoo.com Sat May 10 04:14:15 2008 From: aykut_caglayan at yahoo.com (Aykut Caglayan) Date: Sat, 10 May 2008 04:14:15 -0700 (PDT) Subject: [CM] Multipart in a "process" Message-ID: <189293.17794.qm@web45708.mail.sp1.yahoo.com> Hi I try to generate multipart music (with different rhythmic values) within the same 'process', because all parts have to get their values serially from the same set. (defun cellular (mal) (process for i below mal for amp1 = (if (= (nth 0 (nth i set-1)) 0) 0 0.6) for key1 = (if (= am0 0.6) (nth (pop set-2) set-3) 124) for dur1 = (if (= (nth 0 (nth i set-4)) 1) (if (eq (set 'a (length (1leri-bul (pop set-5)))) 0) .5 (/ 0.5 a)) .5) for amp2 = .... for key2 = .... etc .. .. output (new midi ...: duration sprout (new midi .. .. wait) That "wait" clause determines all of the rhythmic values, although the ":duration"al values are different. To define different functions (as many as parts) and use as (events (list ..)); don't serve my purpose. How to settle this handicap? ____________________________________________________________________________________ Be a better friend, newshound, and know-it-all with Yahoo! Mobile. Try it now. http://mobile.yahoo.com/;_ylt=Ahu06i62sR8HDtDypao8Wcj9tAcJ From taube at uiuc.edu Sat May 10 05:36:34 2008 From: taube at uiuc.edu (Heinrich Taube) Date: Sat, 10 May 2008 07:36:34 -0500 Subject: [CM] Multipart in a "process" In-Reply-To: <189293.17794.qm@web45708.mail.sp1.yahoo.com> References: <189293.17794.qm@web45708.mail.sp1.yahoo.com> Message-ID: > Hi > I try to generate multipart music (with different rhythmic values) > within the same 'process', because all parts have to get their > values serially from the same set. hello there are a number of ways to express this. here is one that uses a process: (defun cellular () (process repeat 10 for key1 = 40 for key2 = 60 for dur1 = .2 for dur2 = .4 for amp1 = .7 for amp2 = .3 for beg1 = (random 1.0) for beg2 = (random 1.0) sprout (new midi :time (+ (now) beg1) :duration dur2 :keynum key1 :amplitude amp1) sprout (new midi :time (+ (now) beg2) :duration dur2 :keynum key2 :amplitude amp1) wait (max beg1 beg2) )) (events (cellular ) "foo.mid") another way would be to write a LOOP that simply collects events and then sprout that list: (defun cellular() (loop ... collect (new midi :time beg1 ...) collect (new midi :time beg2 ...) )) (events (cellular ) "foo.mid") best ,rick From aykut_caglayan at yahoo.com Sat May 10 07:03:12 2008 From: aykut_caglayan at yahoo.com (Aykut Caglayan) Date: Sat, 10 May 2008 07:03:12 -0700 (PDT) Subject: [CM] Multipart in a "process" Message-ID: <983241.58858.qm@web45715.mail.sp1.yahoo.com> Good Morning I red Rick's answer and tested it also, but it wasn't what i pursue > I formulate my question once again: How is it possible to generate two part music within a "process"; first part is composed of "te"s and second part is composed of "e"s. >(defun cellularX () > (process repeat 12 > for key1 = 40 > for key2 = 60 > for dur1 = .33 > for dur2 = .5 > for amp1 = .5 > for amp2 = .5 > for beg1 = > for beg2 = > sprout (new midi :time (+ (now) beg1) :duration dur1 > :keynum key1 :amplitude amp1 :channel 0) > > sprout (new midi :time (+ (now) beg2) :duration dur2 > :keynum key2 :amplitude amp2 :channel 1) > wait ...... > )) ____________________________________________________________________________________ Be a better friend, newshound, and know-it-all with Yahoo! Mobile. Try it now. http://mobile.yahoo.com/;_ylt=Ahu06i62sR8HDtDypao8Wcj9tAcJ From taube at uiuc.edu Sat May 10 11:59:43 2008 From: taube at uiuc.edu (Heinrich Taube) Date: Sat, 10 May 2008 13:59:43 -0500 Subject: [CM] Multipart in a "process" In-Reply-To: <983241.58858.qm@web45715.mail.sp1.yahoo.com> References: <983241.58858.qm@web45715.mail.sp1.yahoo.com> Message-ID: <49647CD2-269C-4CBA-8777-1BC2BD347631@uiuc.edu> > Good Morning > > I red Rick's answer and tested it also, but it wasn't what i pursue > > > I formulate my question once again: > > How is it possible to generate two part music within a "process"; > first part is composed of "te"s and second part is composed of "e"s. ok i see what you want to do. a process is by definition a single "time line", ie it has 1 wait so i would use a loop not a process. if it has to be a process then something along this line might work: (defun cellular () (process repeat 10 for k = (between 40 70) sprout (process repeat 4 output (new midi :time (now) :keynum k) wait (rhythm 'e)) sprout (process repeat 6 output (new midi :time (now) :keynum (+ k 12)) wait (rhythm 'te)) wait 2)) (events (cellular) "foo.mid") From taube at uiuc.edu Sun May 11 07:20:08 2008 From: taube at uiuc.edu (Heinrich Taube) Date: Sun, 11 May 2008 09:20:08 -0500 Subject: [CM] music projects Message-ID: <50A313D9-7E1E-42FD-BFA9-89EF5EEC720E@uiuc.edu> over the next few days ill be posting urls to some nice pieces that students in my advanced algorithmic composition classes did this semester and have given me permission to post. the projects are wide- ranging -- many involve clm, some involve performers, some use interactive disklavier, a quad csound piece for trumpet and tape, kayageum and tape, etc! ill probably post 1 a day or so alphabetically and will send a note when i add a new one first up is alex bielen's Skyharp and Bristiling (grani, fullmix, vkey, expandn etc) http://camilx2.music.uiuc.edu/classes/404A/Projects/index.html From bil at ccrma.Stanford.EDU Mon May 12 11:01:58 2008 From: bil at ccrma.Stanford.EDU (Bill Schottstaedt) Date: Mon, 12 May 2008 11:01:58 -0700 Subject: [CM] music projects In-Reply-To: <50A313D9-7E1E-42FD-BFA9-89EF5EEC720E@uiuc.edu> References: <50A313D9-7E1E-42FD-BFA9-89EF5EEC720E@uiuc.edu> Message-ID: <20080512180059.M86043@ccrma.Stanford.EDU> I like it! I noticed that expandn.ins wasn't in CLM (except an old version in the test suite), so I added it to the CLM tarball, and translated it to scheme (in clm-ins.scm). From errordeveloper at gmail.com Mon May 12 15:31:25 2008 From: errordeveloper at gmail.com (errordeveloper at gmail.com) Date: Mon, 12 May 2008 22:31:25 +0000 Subject: [CM] Copy and Paste (?) In-Reply-To: References: Message-ID: <20080512223125.GA8679@00110101.errordevlopment.org.uk> i have actually a problem with copying from motif Snd on linux, whe i try to drag the selected text Snd crashes :( it shows the copy icon (the one which looks like a leaf) for about a second and then crashes .. From bil at ccrma.Stanford.EDU Mon May 12 16:19:37 2008 From: bil at ccrma.Stanford.EDU (Bill Schottstaedt) Date: Mon, 12 May 2008 16:19:37 -0700 Subject: [CM] Copy and Paste (?) In-Reply-To: <20080512223125.GA8679@00110101.errordevlopment.org.uk> References: <20080512223125.GA8679@00110101.errordevlopment.org.uk> Message-ID: <20080512230740.M40128@ccrma.Stanford.EDU> There is at least one known Xm/Xt bug in this area, if you're using button 2 to drag: http://bugs.motifzone.net/long_list.cgi?buglist=201 They say it no longer causes a crash, but that's incorrect. If that's the bug, you'll be in StartDropTimer in DropTrans.c at the point of the bug, or you'll get a complaint in the shell that the previous timer did not finish (I can get both to happen). In any case, drag and drop to or from the listener widget does not involve any of my code -- it's Motif, Xt, X, and maybe the window manager, so in both this case and the earlier one, there's not much I can do, but be sympathetic -- you could file a bug report with the openmotif project. I do set up drop locations for the channel graph, the top level menu, and the view files dialog, so in those cases, it might be my problem. From errordeveloper at gmail.com Mon May 12 23:53:40 2008 From: errordeveloper at gmail.com (errordeveloper at gmail.com) Date: Tue, 13 May 2008 06:53:40 +0000 Subject: [CM] Copy and Paste (?) In-Reply-To: <20080512224457.M60831@ccrma.Stanford.EDU> References: <20080512223125.GA8679@00110101.errordevlopment.org.uk> <20080512224457.M60831@ccrma.Stanford.EDU> Message-ID: <20080513065339.GE7661@00110101.errordevlopment.org.uk> On Mon, May 12, 2008 at 03:46:40PM -0700, Bill Schottstaedt wrote: > I can't do anything without at least a stack trace from gdb. > > well, i'll try to get my head around debuging, but this bug is not causing much trouble cause i don't intead to drag-n-drop anyway ;) From c.mcclelland at qub.ac.uk Tue May 13 03:01:45 2008 From: c.mcclelland at qub.ac.uk (Christopher McClelland) Date: Tue, 13 May 2008 11:01:45 +0100 Subject: [CM] [ANN] PhD studentships @ the Sonic Arts Research Centre Message-ID: Please Distribute, Apologies for x-posting The Sonic Arts Research Centre (SARC) at the School of Music and Sonic Arts, Queen's University Belfast, is pleased to announce 3 new PhD studentships for entry in 2008-09. The studentships are directed at the research areas listed below and have been funded by the Northern Ireland Executive?s Programme for Government. Full details of potential projects are available on the School website on http:///www.qub.ac.uk/music . Covering both fees and maintenance, the studentships are available to Home students and EU Students with a UK undergraduate degree. For full eligibility criteria, please see: http://www.qub.ac.uk/home/Research/PostgraduateOffice/ProgrammeForGovernmentResearchStudentships Applicants should have, or expect to obtain, a minimum of a 2:1 honours degree and a Masters (or equivalent) in music technology, sonic arts, interaction design, computer science, electrical and electronic engineering or related discipline. Applicants without a Masters may, in exceptional circumstances, be considered. Deadline: 26th May 2008 Applications will be accepted after the deadline, though applicants will not be eligible for funding. Applications should be made electronically, through the Queen's University Belfast Postgraduate Application Portal, which can be accessed on the following URL: https://pg.apply.qub.ac.uk/home. Research Areas ICT and Creative Media ? Responsive systems for interaction ? Low latency encoding of gesture information for remote interaction ? Human computer interaction in creative performance Creative Media ? Listening in Place - context area interaction ? Interaction and telepresence using multimodal interaction ? Network Performance - music performance and dissemination over networks LHS ? Communication systems for helping older people remain independent For further information, please contact: Dr. Pedro Rebelo Sonic Arts Research Centre Tel: +44 (0)28 9097 5406 Fax: +44 (0)28 9097 4828 email: P.Rebelo at qub.ac.uk www.sarc.qub.ac.uk ........................................................................... Chris McClelland Sonic Arts Research Centre Queens University Belfast BT7 1NN Tel: 02890974445 Email: c.mcclelland at qub.ac.uk -------------- next part -------------- An HTML attachment was scrubbed... URL: From taube at uiuc.edu Tue May 13 06:27:29 2008 From: taube at uiuc.edu (Heinrich Taube) Date: Tue, 13 May 2008 08:27:29 -0500 Subject: [CM] music projects In-Reply-To: <20080512180059.M86043@ccrma.Stanford.EDU> References: <50A313D9-7E1E-42FD-BFA9-89EF5EEC720E@uiuc.edu> <20080512180059.M86043@ccrma.Stanford.EDU> Message-ID: <87BEC3BE-E333-458C-A0B2-BB173EEF007B@uiuc.edu> Here are three more pieces, all by andrew burnson 1. a very funny, short demo of chowning's fm-voice: http://camilx2.music.uiuc.edu/classes/404A/Projects/index.html#old-macdonald 2. a piece for gayageum (korean zither) and tape: http://camilx2.music.uiuc.edu/classes/404A/Projects/index.html#gasang 3. an interactive piece for pianist and disklavier: http://camilx2.music.uiuc.edu/classes/404A/Projects/index.html#excursions From bil at ccrma.Stanford.EDU Tue May 13 16:40:27 2008 From: bil at ccrma.Stanford.EDU (Bill Schottstaedt) Date: Tue, 13 May 2008 16:40:27 -0700 Subject: [CM] Copy and Paste (?) In-Reply-To: <20080512230740.M40128@ccrma.Stanford.EDU> References: <20080512223125.GA8679@00110101.errordevlopment.org.uk> <20080512230740.M40128@ccrma.Stanford.EDU> Message-ID: <20080513233526.M43160@ccrma.Stanford.EDU> Not to bore everyone to tears, but Motif is actually getting updated! They have moved to sourceforge (openmotif), and someone is fixing bugs! I think they even did something about the drag segfault. Now if I could only get this durned thing to build... From taube at uiuc.edu Wed May 14 07:44:11 2008 From: taube at uiuc.edu (Rick Taube) Date: Wed, 14 May 2008 09:44:11 -0500 Subject: [CM] music In-Reply-To: <87BEC3BE-E333-458C-A0B2-BB173EEF007B@uiuc.edu> References: <50A313D9-7E1E-42FD-BFA9-89EF5EEC720E@uiuc.edu> <20080512180059.M86043@ccrma.Stanford.EDU> <87BEC3BE-E333-458C-A0B2-BB173EEF007B@uiuc.edu> Message-ID: <57C0D3F7-9CDB-475A-A5F1-7BB038341F3A@uiuc.edu> today's post, Chimes by Quinn Collin. clm3 (fm-violin, fm-bell, grani) and disklavier http://camilx2.music.uiuc.edu/classes/404A/Projects/index.html#chimes From tom.brooke at gmail.com Fri May 16 09:15:23 2008 From: tom.brooke at gmail.com (Tom Brooke) Date: Fri, 16 May 2008 16:15:23 +0000 (UTC) Subject: [CM] Which CM CLM Message-ID: I have the Notes from Metalevel book and want to start learning CM and CLM I have downloaded a couple of versions and I am trying to decide on the best way to proceed under Ubuntu. It looks like I can: 1. Run them both plus CMN under Sbcl - I installed the cd and CM come up interactively without problem and I assume it wouldn't be difficult to set things up in Emacs. 2. Set up Grace and /or GraceCL - this looks like a slimmed down emacs and I get a choice of Scheme or lisp - An advantage since I know more scheme than lisp. ALso it looks like it might be an easier learning environment 3. Use CM and CLM with Snd. This looks promising since snd 9.5 runs fine on my system with jack and it looks like I have the choice of running cm within snd or else calling snd with emacs. Plus I have the other snd capablilities I can use. I may have answered my own question but I wasn't sure whether all the means of running CM and CLM are comparable and which way would serve me best in the future. Tom Brooke From bil at ccrma.Stanford.EDU Fri May 16 12:28:41 2008 From: bil at ccrma.Stanford.EDU (Bill Schottstaedt) Date: Fri, 16 May 2008 12:28:41 -0700 Subject: [CM] Which CM CLM In-Reply-To: References: Message-ID: <20080516191804.M14615@ccrma.Stanford.EDU> In regard to CLM, I think the Scheme version is better than the Common Lisp version, mainly because I much prefer working in Snd. The CM work however has gone toward Chicken scheme and Juce, and Snd can't deal with either one. There's no "technical" roadblock -- just my aversion to C++ and hard work, and Chicken doesn't know what the word "embed" means, and I'm having too much fun with sound synthesis to bear knuckling down to that kind of frantic cut-and-curse-for-a-month programming. From taube at uiuc.edu Sat May 17 05:12:12 2008 From: taube at uiuc.edu (Heinrich Taube) Date: Sat, 17 May 2008 07:12:12 -0500 Subject: [CM] Which CM CLM In-Reply-To: References: Message-ID: > 1. Run them both plus CMN under Sbcl - I installed the cd and CM > come up > interactively without problem and I assume it wouldn't be difficult > to set > things up in Emacs. use Aquamacs if you are on OS X, using this environment with either sbcl or clisp will run the software on the CD as is. > 2. Set up Grace and /or GraceCL - this looks like a slimmed down > emacs > and I get a choice of Scheme or lisp - An advantage since I know > more scheme > than lisp. ALso it looks like it might be an easier learning > environment Yes on all accounts, but its new and doesnt correspond exactly with the book or run its examples. The scheme version (Grace) is what I will be working on in the future. One possibility would be for me to rewrite the examples in the book for the scheme/cm in Grace. > 3. Use CM and CLM with Snd. This looks promising since snd 9.5 > runs fine > on my system with jack and it looks like I have the choice of > running cm > within snd or else calling snd with emacs. Plus I have the other snd > capablilities I can use. You can load any version of CM2 into guile (snd). > I may have answered my own question but I wasn't sure whether all > the means of > running CM and CLM are comparable and which way would serve me best > in the > future. Im actually thinking over a new edition of Notes from the Metalevel that would include additional chapters (cellular automata, l-systems, interactive examples) . THis would of course use the Grace application and i would probably use SAL for the examples. From taube at uiuc.edu Sat May 17 05:38:38 2008 From: taube at uiuc.edu (Heinrich Taube) Date: Sat, 17 May 2008 07:38:38 -0500 Subject: [CM] Which CM CLM In-Reply-To: <20080516191804.M14615@ccrma.Stanford.EDU> References: <20080516191804.M14615@ccrma.Stanford.EDU> Message-ID: <1BD73B9B-B1E0-461E-83D2-A3FE55A379D8@uiuc.edu> On possibility i have been thinking about would be to just move the commonlisp clm3 (or clm4) lisp sources to r5rs scheme and to then replace the current FFI.lisp with different FFI.scm for different schemes (ie ffi-guile.scm ffi-chicken.scm ...) My guess is this system would run basically as fast as sbcl clm3 since most of the stuff happens in C anyway. My main reluctance is that as bill says this code is not main clm branch that runs in snd and im not smart enough to port this code. on the other hand clm3 works really well, is pretty fast and is not a large system. Still it would be a fair amount of work to port it to scheme, albeit most of the work is very straightforward translation from common lisp to scheme syntax, and recasting some defclass with define-records. If anyone would be willing to help out on this work please send me a note. I probably wont do it if im the only one working on it! > In regard to CLM, I think the Scheme version is better > than the Common Lisp version, mainly because > I much prefer working in Snd. The CM work however > has gone toward Chicken scheme and Juce, and > Snd can't deal with either one. There's no "technical" > roadblock -- just my aversion to C++ and hard work, > and Chicken doesn't know what the word "embed" > means, and I'm having too much fun with sound > synthesis to bear knuckling down to that kind of > frantic cut-and-curse-for-a-month programming. From dhamilton92 at yahoo.co.uk Mon May 19 06:53:00 2008 From: dhamilton92 at yahoo.co.uk (David Hamilton) Date: Mon, 19 May 2008 13:53:00 +0000 (GMT) Subject: [CM] Grace help examples Message-ID: <725343.48244.qm@web26401.mail.ukl.yahoo.com> Hello I'm running on Mac and PC and seem to be having some problems running some of the earlier tutorials. In help/SAL tutorials/Hello World, I can't execute this example: loop for x from 0 to 1 by 1/8 print "x=", x, " sin(2pi*x)/2=", sin(2 * pi * x) / 2 end I've tried on Mac and PC versions of Grace and get the same error: >>> Error: unbound variable: pi I'm also getting the same error on OSX when executing, but am wondering if I'm missing something? print *midi-player* I'm outputting MIDI ok when I try the menu /Ports/Midi Out/Test Output Finally, I'm also getting an error when trying to execute: begin with notes = {e4 fs4 b4 cs5 d5 fs4 e4 cs5 b4 fs4 d5 cs5} , stop = 20 open "reich.mid" sprout list( piano-phase(stop, notes, .167), piano-phase(stop, notes, .17)) end The error is: >>> Error: Illegal statement: open "reich.mid" ^ Apologies for the barrage of questions, I can get the more complex examples to execute, and understand the principal of what's happening but some of these simple ones are foxing me. Thanks in advance. David PS All examples copied and pasted from help files. __________________________________________________________ Sent from Yahoo! Mail. A Smarter Email http://uk.docs.yahoo.com/nowyoucan.html -------------- next part -------------- An HTML attachment was scrubbed... URL: From dlphillips at woh.rr.com Mon May 19 07:26:44 2008 From: dlphillips at woh.rr.com (Dave Phillips) Date: Mon, 19 May 2008 10:26:44 -0400 Subject: [CM] music In-Reply-To: <57C0D3F7-9CDB-475A-A5F1-7BB038341F3A@uiuc.edu> References: <50A313D9-7E1E-42FD-BFA9-89EF5EEC720E@uiuc.edu> <20080512180059.M86043@ccrma.Stanford.EDU> <87BEC3BE-E333-458C-A0B2-BB173EEF007B@uiuc.edu> <57C0D3F7-9CDB-475A-A5F1-7BB038341F3A@uiuc.edu> Message-ID: <48318E24.4080500@woh.rr.com> Hi Rick, Just a quick note to say thanks to you and your students for sharing their works. Please, keep 'em coming. I'm listening... :) Best, dp From taube at uiuc.edu Mon May 19 07:47:05 2008 From: taube at uiuc.edu (Heinrich Taube) Date: Mon, 19 May 2008 09:47:05 -0500 Subject: [CM] music In-Reply-To: <48318E24.4080500@woh.rr.com> References: <50A313D9-7E1E-42FD-BFA9-89EF5EEC720E@uiuc.edu> <20080512180059.M86043@ccrma.Stanford.EDU> <87BEC3BE-E333-458C-A0B2-BB173EEF007B@uiuc.edu> <57C0D3F7-9CDB-475A-A5F1-7BB038341F3A@uiuc.edu> <48318E24.4080500@woh.rr.com> Message-ID: <52F58F11-3751-4611-A328-847F1F302032@uiuc.edu> oops! sorry i got sidetracked this weekend. there are a few more, ill post the next one later today, thansk for the (gentle) reminder. On May 19, 2008, at 9:26 AM, Dave Phillips wrote: > Hi Rick, > > Just a quick note to say thanks to you and your students for sharing > their works. Please, keep 'em coming. I'm listening... :) > > Best, > > dp > > _______________________________________________ > Cmdist mailing list > Cmdist at ccrma.stanford.edu > http://ccrma-mail.stanford.edu/mailman/listinfo/cmdist From taube at uiuc.edu Mon May 19 09:06:20 2008 From: taube at uiuc.edu (Heinrich Taube) Date: Mon, 19 May 2008 11:06:20 -0500 Subject: [CM] Grace help examples In-Reply-To: <725343.48244.qm@web26401.mail.ukl.yahoo.com> References: <725343.48244.qm@web26401.mail.ukl.yahoo.com> Message-ID: <2EED5425-EB47-4E93-8D29-3F28CD5E56A3@uiuc.edu> Yes, you are correct that some of the tutorials are stale -- they were originally designed for the Common Lisp environment and dont reflect the newer realtime/scheme environment. I think the solution will be to make the current tutorials reflect realtime/scheme (Grace), and only ship the older set with gracecl releases (assuming there is some solution to getting CLM working in a non-snd scheme the GraceCL releases will be fewer and fewer) best, rick On May 19, 2008, at 8:53 AM, David Hamilton wrote: > Hello > I'm running on Mac and PC and seem to be having some problems > running some of the earlier tutorials. In help/SAL tutorials/Hello > World, I can't execute this example: > > loop for x from 0 to 1 by 1/8 > print "x=", x, " sin(2pi*x)/2=", sin(2 * pi * x) / 2 > end > > I've tried on Mac and PC versions of Grace and get the same error: > >>> Error: unbound variable: pi > > I'm also getting the same error on OSX when executing, but am > wondering if I'm missing something? > > print *midi-player* > > > I'm outputting MIDI ok when I try the menu /Ports/Midi Out/Test Output > > Finally, I'm also getting an error when trying to execute: > > begin > with notes = {e4 fs4 b4 cs5 d5 fs4 e4 cs5 b4 fs4 d5 cs5} , > stop = 20 > open "reich.mid" > sprout list( piano-phase(stop, notes, .167), > piano-phase(stop, notes, .17)) > end > > The error is: > >>> Error: Illegal statement: > open "reich.mid" > ^ > > Apologies for the barrage of questions, I can get the more complex > examples to execute, and understand the principal of what's > happening but some of these simple ones are foxing me. > > > Thanks in advance. > > David > PS All examples copied and pasted from help files. > > > Sent from Yahoo! Mail. > A Smarter Email._______________________________________________ > Cmdist mailing list > Cmdist at ccrma.stanford.edu > http://ccrma-mail.stanford.edu/mailman/listinfo/cmdist From taube at uiuc.edu Mon May 19 09:15:18 2008 From: taube at uiuc.edu (Heinrich Taube) Date: Mon, 19 May 2008 11:15:18 -0500 Subject: [CM] Grace help examples In-Reply-To: <725343.48244.qm@web26401.mail.ukl.yahoo.com> References: <725343.48244.qm@web26401.mail.ukl.yahoo.com> Message-ID: In the meantime here are fixes to the immediate problems you posted: --------- define variable pi = 3.141592653589793 loop for x from 0 to 1 by 1/8 print "x=", x, " sin(2pi*x)/2=", sin(2 * pi * x) / 2 end define process piano-phase (stop, keys, rate) run with pat = make-cycle(keys) until elapsed() >= stop send "mp:midi", key: next(pat), dur: rate wait rate end begin with trope = {e4 fs4 b4 cs5 d5 fs4 e4 cs5 b4 fs4 d5 cs5} , nsecs = 20 sprout list( piano-phase(nsecs, key(trope), .167), piano-phase(nsecs, key(trope), .17)) end > > > I've tried on Mac and PC versions of Grace and get the same error: > >>> Error: unbound variable: pi > > I'm also getting the same error on OSX when executing, but am > wondering if I'm missing something? > > print *midi-player* > > > I'm outputting MIDI ok when I try the menu /Ports/Midi Out/Test Output > > Finally, I'm also getting an error when trying to execute: > > begin > with notes = {e4 fs4 b4 cs5 d5 fs4 e4 cs5 b4 fs4 d5 cs5} , > stop = 20 > open "reich.mid" > sprout list( piano-phase(stop, notes, .167), > piano-phase(stop, notes, .17)) > end > > The error is: > >>> Error: Illegal statement: > open "reich.mid" > ^ > > Apologies for the barrage of questions, I can get the more complex > examples to execute, and understand the principal of what's > happening but some of these simple ones are foxing me. > > > Thanks in advance. > > David > PS All examples copied and pasted from help files. > > > Sent from Yahoo! Mail. > A Smarter Email._______________________________________________ > Cmdist mailing list > Cmdist at ccrma.stanford.edu > http://ccrma-mail.stanford.edu/mailman/listinfo/cmdist From ugurguney at gmail.com Mon May 19 23:59:31 2008 From: ugurguney at gmail.com (=?UTF-8?Q?U=C4=9Fur_G=C3=BCney?=) Date: Tue, 20 May 2008 09:59:31 +0300 Subject: [CM] Grace: Process in a Process Message-ID: <667f06560805192359s78a7e89cqfa4279e035de1e29@mail.gmail.com> # Hi, # I'm trying to make a real-time drummer for using on performances with my band, but stuck somewhere. # I want to call a process in a process. The outer process will select one of the inner processes. ie. "if a random variable is higher than something than call this one, else call other one." # There is a working example for this: "gestures.sal" but I can not translate it to scheme language. The code below is what I have tried. Using (one-note (next pat)) instead of (send "cs:i"...) did not worked. What should I do? # Have a nice day! -ugur- merdivenler.lisp: (define-process (ritim n tempo) (run with pat = (make-cycle '(.2 .1 .2 .1 .1)) and rate = (/ (/ 60 tempo) 4) repeat n do (send "cs:i" 1 0 (next pat)) ;(one-note (next pat)) (wait rate))) (sprout (ritim 10 120)) (define-process (one-note dur) (run repeat 1 do (send "cs:i" 1 0 dur))) (define-process (two-notes dur rate) (run repeat 2 do (send "cs:i" 1 0 dur) (wait (/ rate 2)))) ritm.orc sr=44100 ksmps=1 nchnls=1 0dbfs = 1.0 instr 1 ;untitled idur init p3 aenv linseg 0, idur*.1, 1, idur*.9, 0 anoise noise 1, 0 out anoise*(aenv)^4 endin From taube at uiuc.edu Tue May 20 06:16:23 2008 From: taube at uiuc.edu (Heinrich Taube) Date: Tue, 20 May 2008 08:16:23 -0500 Subject: [CM] Grace: Process in a Process In-Reply-To: <667f06560805192359s78a7e89cqfa4279e035de1e29@mail.gmail.com> References: <667f06560805192359s78a7e89cqfa4279e035de1e29@mail.gmail.com> Message-ID: hi, calling (one-note ...) just creates a process, it doesnt start running it. when you want to start a process running you have to actually sprout it. so your main process would look like this (untested): (define-process (ritim n tempo) (run with pat = (make-cycle '(.2 .1 .2 .1 .1)) and rate = (/ (/ 60 tempo) 4) repeat n do (send "cs:i" 1 0 (next pat)) (sprout (one-note (next pat)) ) (wait rate))) see: http://pinhead.music.uiuc.edu/~hkt/grace/doc/cm.html#sprout On May 20, 2008, at 1:59 AM, U?ur G?ney wrote: > # Hi, > # I'm trying to make a real-time drummer for using on performances > with my band, but stuck somewhere. > # I want to call a process in a process. The outer process will select > one of the inner processes. ie. "if a random variable is higher than > something than call this one, else call other one." > # There is a working example for this: "gestures.sal" but I can not > translate it to scheme language. The code below is what I have tried. > Using (one-note (next pat)) instead of (send "cs:i"...) did not > worked. What should I do? > # Have a nice day! > -ugur- > > merdivenler.lisp: > (define-process (ritim n tempo) > (run with > pat = (make-cycle '(.2 .1 .2 .1 .1)) and > rate = (/ (/ 60 tempo) 4) > repeat n > do > (send "cs:i" 1 0 (next pat)) > ;(one-note (next pat)) > (wait rate))) > > (sprout (ritim 10 120)) > > (define-process (one-note dur) > (run repeat 1 > do > (send "cs:i" 1 0 dur))) > > (define-process (two-notes dur rate) > (run repeat 2 > do > (send "cs:i" 1 0 dur) > (wait (/ rate 2)))) > > > ritm.orc > sr=44100 > ksmps=1 > nchnls=1 > 0dbfs = 1.0 > > instr 1 ;untitled > idur init p3 > aenv linseg 0, idur*.1, 1, idur*.9, 0 > > anoise noise 1, 0 > > out anoise*(aenv)^4 > endin > > _______________________________________________ > Cmdist mailing list > Cmdist at ccrma.stanford.edu > http://ccrma-mail.stanford.edu/mailman/listinfo/cmdist From ugurguney at gmail.com Tue May 20 07:04:12 2008 From: ugurguney at gmail.com (=?UTF-8?Q?U=C4=9Fur_G=C3=BCney?=) Date: Tue, 20 May 2008 17:04:12 +0300 Subject: [CM] Grace: Process in a Process In-Reply-To: References: <667f06560805192359s78a7e89cqfa4279e035de1e29@mail.gmail.com> Message-ID: <667f06560805200704s4af73500sa5b5d86a78f93b60@mail.gmail.com> # OK. I thought one sprout for running the outer process was enough but I was wrong. Every process must be sprouted to start. # I surrounded the "one-note" processes with sprout command as you suggested. This way it produced sound! But this time the output is different then using (send) instead of the (one-note) wrapper process. # In the (send) case, the timing is correct. Sounds are produced in constant time intervals. But in the (sprout (one-note...)) case they come in irregular intervals. # I suspect that I made a mistake in the design. There is a wait command in the outer process ritim. The tempo is defined by the user while sprouting ritim. So, after every "rate" seconds the (one-note) process must be sprouted. There isn't any wait commands in the (one-note). Where is the problem do you think? # What confuses me is that just running (sprout (one-note 0.1)) or (sprout (two-notes 0.1 0.5)), not calling them through another process "ritim", produces the correct behavior. # Thanks in advance! -ugur- On Tue, May 20, 2008 at 4:16 PM, Heinrich Taube wrote: > hi, calling (one-note ...) just creates a process, it doesnt start running > it. when you want to start a process running you have to actually sprout it. > so your main process would look like this (untested): > > (define-process (ritim n tempo) > (run with > pat = (make-cycle '(.2 .1 .2 .1 .1)) and > rate = (/ (/ 60 tempo) 4) > repeat n > do > (send "cs:i" 1 0 (next pat)) > (sprout (one-note (next pat)) ) > (wait rate))) > > > see: > http://pinhead.music.uiuc.edu/~hkt/grace/doc/cm.html#sprout > > On May 20, 2008, at 1:59 AM, U?ur G?ney wrote: > >> # Hi, >> # I'm trying to make a real-time drummer for using on performances >> with my band, but stuck somewhere. >> # I want to call a process in a process. The outer process will select >> one of the inner processes. ie. "if a random variable is higher than >> something than call this one, else call other one." >> # There is a working example for this: "gestures.sal" but I can not >> translate it to scheme language. The code below is what I have tried. >> Using (one-note (next pat)) instead of (send "cs:i"...) did not >> worked. What should I do? >> # Have a nice day! >> -ugur- >> >> merdivenler.lisp: >> (define-process (ritim n tempo) >> (run with >> pat = (make-cycle '(.2 .1 .2 .1 .1)) and >> rate = (/ (/ 60 tempo) 4) >> repeat n >> do >> (send "cs:i" 1 0 (next pat)) >> ;(one-note (next pat)) >> (wait rate))) >> >> (sprout (ritim 10 120)) >> >> (define-process (one-note dur) >> (run repeat 1 >> do >> (send "cs:i" 1 0 dur))) >> >> (define-process (two-notes dur rate) >> (run repeat 2 >> do >> (send "cs:i" 1 0 dur) >> (wait (/ rate 2)))) >> >> >> ritm.orc >> sr=44100 >> ksmps=1 >> nchnls=1 >> 0dbfs = 1.0 >> >> instr 1 ;untitled >> idur init p3 >> aenv linseg 0, idur*.1, 1, idur*.9, 0 >> >> anoise noise 1, 0 >> >> out anoise*(aenv)^4 >> endin >> >> _______________________________________________ >> Cmdist mailing list >> Cmdist at ccrma.stanford.edu >> http://ccrma-mail.stanford.edu/mailman/listinfo/cmdist > > From bil at ccrma.Stanford.EDU Tue May 20 11:38:15 2008 From: bil at ccrma.Stanford.EDU (Bill Schottstaedt) Date: Tue, 20 May 2008 11:38:15 -0700 Subject: [CM] a question for experts? Message-ID: <20080520183326.M9976@ccrma.Stanford.EDU> Max asks "how to use dual-core processors in real time audio applications?" -- I would mumble something about threads. Actually, I've never looked into how much parallel processing they provide. On my dual-processor machine, I have convinced myself that they run at the same time, and in some cases give an honest factor of two speed-up (via threads). From fbar at footils.org Tue May 20 12:06:50 2008 From: fbar at footils.org (Frank Barknecht) Date: Tue, 20 May 2008 21:06:50 +0200 Subject: [CM] a question for experts? In-Reply-To: <20080520183326.M9976@ccrma.Stanford.EDU> References: <20080520183326.M9976@ccrma.Stanford.EDU> Message-ID: <20080520190650.GA14694@footils.org> Hallo, Bill Schottstaedt hat gesagt: // Bill Schottstaedt wrote: > Max asks "how to use dual-core processors in real time audio > applications?" -- I would mumble something about threads. > Actually, I've never looked into how much parallel processing > they provide. On my dual-processor machine, I have convinced > myself that they run at the same time, and in some cases give an > honest factor of two speed-up (via threads). Tricky question. Here's an interesting paper from this year's Linux Audio Conference in Cologne regarding it: "Exploiting Multi-Core Architectures for Fast Modular Synthesis" Name: J?rgen Reuter Recently, CPU speed increases only slowly, while the number of transistors per chip keeps growing exponentially. Consequently, processors with multi-core architectures are pervading the market. Unfortunately, most existing software still can not exploit the parallelism. Since modular software synthesis implementations typically simulate parallel hardware, they are designated to run on parallel hardware. We examine different approaches for parallelization of a modular software synthesizer and discuss their advantages and disadvantages with respect to both the performance gain and the impact on the software architecture. Paper: http://lac.linuxaudio.org/download/papers/8.pdf Slides: http://lac.linuxaudio.org/download/slides/8/ LAC: http://lac.linuxaudio.org/ Ciao -- Frank Barknecht From yuri at voivod.net Tue May 20 12:42:25 2008 From: yuri at voivod.net (Yuri Jossa) Date: Tue, 20 May 2008 15:42:25 -0400 Subject: [CM] GraceCL error Message-ID: <005f01c8bab1$a1387a70$01010a0a@ncore1> Hi folks I am another reader of Notes from the Metalevel. For all of those who purchased the book from Amazon and didn't get a CD, just contact amazon customer service and return the book and they will send you a replacement book with a CD.. i know this works, because it happened to me. I am trying to run Grace 1.01 win 32 on my Windows XP computer with the full version of GNU clisp 2.45 installed, but everytime i try to start LISP from the Grace GUI, the socket server times out. The path to the LISP executable is defined properly inside the Grace GUI and i have tried to start the lisp server using different ports.. When i try to execute the command to start grace from a command line, i get the following error: module 'syscalls' requires package OS. This is the command i am executing: lisp.exe -x "(load \"C:\\GraceCL\\Resources\\grace\\grace.asd\")" -x "(asdf:oos (quote asdf:load-op)\"grace\")" -x "(grace:start-server 9002 \"C:\\DOCUME~1\\ADMINI~1\\LOCALS~1\\Temp\\temp5grace\")" I did manage to get the version of CM that came on the CD-ROM running, but i would like to play around with Grace as well.. Has anyone seen this error? thx -------------- next part -------------- An HTML attachment was scrubbed... URL: From k.s.matheussen at notam02.no Tue May 20 14:06:47 2008 From: k.s.matheussen at notam02.no (Kjetil S. Matheussen) Date: Tue, 20 May 2008 23:06:47 +0200 (CEST) Subject: [CM] a question for experts? In-Reply-To: <20080520190650.GA14694@footils.org> References: <20080520183326.M9976@ccrma.Stanford.EDU> <20080520190650.GA14694@footils.org> Message-ID: On Tue, 20 May 2008, Frank Barknecht wrote: > Hallo, > Bill Schottstaedt hat gesagt: // Bill Schottstaedt wrote: > >> Max asks "how to use dual-core processors in real time audio >> applications?" -- I would mumble something about threads. >> Actually, I've never looked into how much parallel processing >> they provide. On my dual-processor machine, I have convinced >> myself that they run at the same time, and in some cases give an >> honest factor of two speed-up (via threads). > > Tricky question. Yes. To give an impression how tricky it is, I thought it was a good idea to use parallel programming for copying a large area of memory at each audio block entry, instead of doing a single memcpy() from one thread. The area was usually 1-20MB, and each thread was responsible for copying minimum 32k at the time, but usually much more. But no matter how much tweaking I put into the size of the partly copied memory areas, and the number of threads, and improving the scheduling by using atomic operators etc., I seldom saw an improvement in execution speed of more than about 10-40%, now and then it even went slower than non-parallel. So therefore a bunch of cpu power was wasted compared to using just one thread. I think its a cache issue though, and if I had been copying from different parts of the memory block, instead of copying sequentially, the result could have been much better... (I still have to try that out, but I'm not too optimistic) But this task would, at least from what I first thought, had been the ideal task for parallelisation, however it failed quite miserably. (The source of this parallel memory copyer is starting on line 243 in http://www.notam02.no/arkiv/src/rollendurchmesserzeitsammler-0.0.2.tar.gz) Another example, Yann Orlarey just posted a message on the faust development list, where he has managed to make faust about 18%/33% faster (compared to scalar and non-scalar mode) by using something called "openMP" on a dual-core machine: http://sourceforge.net/mailarchive/forum.php?thread_name=482F04E4.6020903%40free.fr&forum_name=faudiostream-devel From mr.spoon21 at gmail.com Tue May 20 14:49:52 2008 From: mr.spoon21 at gmail.com (Mr.SpOOn) Date: Tue, 20 May 2008 23:49:52 +0200 Subject: [CM] Lisa and Common (Lisp) Music Message-ID: <8f67b6f80805201449i55db8cc7y1fcd9222b74b22b8@mail.gmail.com> Hi, do you know if is it possible to use Lisa (http://lisa.sourceforge.net/) with Common Music or Common Lisp Music? I'm asking because told me that Lisa is good for forward-chaining. Thanks. From nando at ccrma.Stanford.EDU Wed May 21 00:56:23 2008 From: nando at ccrma.Stanford.EDU (Fernando Lopez-Lezcano) Date: Wed, 21 May 2008 09:56:23 +0200 Subject: [CM] a question for experts? In-Reply-To: <20080520183326.M9976@ccrma.Stanford.EDU> References: <20080520183326.M9976@ccrma.Stanford.EDU> Message-ID: <1211356583.3167.13.camel@cage.kgw.TU-Berlin.DE> On Tue, 2008-05-20 at 11:38 -0700, Bill Schottstaedt wrote: > Max asks "how to use dual-core processors in real time audio > applications?" -- I would mumble something about threads. > Actually, I've never looked into how much parallel processing > they provide. On my dual-processor machine, I have convinced > myself that they run at the same time, and in some cases give an > honest factor of two speed-up (via threads). Yes, that would make sense. AFAIK in Linux threads are implemented as processes (well, most probably it is a lot more complicated than that :-) You can see them with the proper ps incantation (which I don't remember) or by looking at /proc/PID/task/ (where PID is the pid of the parent process). So, running two cpu intensive threads at the same time in a dual core machine should result ideally in a 2x improvement in speed, neglecting any i/o issues, memory caching, etc, etc (which are going to be the big catch :-) The scheduler in the kernel would hopefully migrate both threads to different cores - but of course those two threads are not the only ones executing so it might happen, depending on what you do, that both land temporarily in the same cpu... You can force a thread (through affinity) to stay in a given core but I would not try to outsmart the linux scheduler (see man taskset). -- Fernando From ugurguney at gmail.com Fri May 23 04:22:39 2008 From: ugurguney at gmail.com (=?UTF-8?Q?U=C4=9Fur_G=C3=BCney?=) Date: Fri, 23 May 2008 14:22:39 +0300 Subject: [CM] Grace: Process in a Process In-Reply-To: <667f06560805200704s4af73500sa5b5d86a78f93b60@mail.gmail.com> References: <667f06560805192359s78a7e89cqfa4279e035de1e29@mail.gmail.com> <667f06560805200704s4af73500sa5b5d86a78f93b60@mail.gmail.com> Message-ID: <667f06560805230422w7b185159r8db2596e380c6a65@mail.gmail.com> http://pinhead.music.uiuc.edu/~hkt/grace/doc/cm.html#sprout # I thought about this, and want to ask whether a new thread is created for every sprout command. If so maybe it is hard for the computer to create a new thread every 0.5 seconds with good synchronization. # I changed the code such that instead of using a process inside a process for random selection of what to output at every beat, I put a loop in the place of inner process. In this way there is only one process and hence there is not any synchronization problem. (define-process (ritim2 n tempo) (run with patdur = (make-cycle '(.1 .05 .1 .05 .05)) and pattimes = (make-weighting '((1 10) (2 2) (3 1))) and rate = (/ (/ 60 tempo) 4) repeat n do (loop with times = (next pattimes) with dur = (next patdur) for i from 0 below times by 1 do (send "cs:i" 1 (* i (/ rate times)) dur)) (wait rate))) (sprout (ritim2 100 120) 0 1) (stop 1) On Tue, May 20, 2008 at 5:04 PM, U?ur G?ney wrote: > # In the (send) case, the timing is correct. Sounds are produced in > constant time intervals. But in the (sprout (one-note...)) case they > come in irregular intervals. From taube at uiuc.edu Fri May 23 04:56:35 2008 From: taube at uiuc.edu (Heinrich Taube) Date: Fri, 23 May 2008 06:56:35 -0500 Subject: [CM] Grace: Process in a Process In-Reply-To: <667f06560805230422w7b185159r8db2596e380c6a65@mail.gmail.com> References: <667f06560805192359s78a7e89cqfa4279e035de1e29@mail.gmail.com> <667f06560805200704s4af73500sa5b5d86a78f93b60@mail.gmail.com> <667f06560805230422w7b185159r8db2596e380c6a65@mail.gmail.com> Message-ID: Im sorry i havent had any time the last few days for answering anything. ill try to get to this later today. On May 23, 2008, at 6:22 AM, U?ur G?ney wrote: > http://pinhead.music.uiuc.edu/~hkt/grace/doc/cm.html#sprout > > # I thought about this, and want to ask whether a new thread is > created for every sprout command. If so maybe it is hard for the > computer to create a new thread every 0.5 seconds with good > synchronization. > # I changed the code such that instead of using a process inside a > process for random selection of what to output at every beat, I put a > loop in the place of inner process. In this way there is only one > process and hence there is not any synchronization problem. > > (define-process (ritim2 n tempo) > (run with > patdur = (make-cycle '(.1 .05 .1 .05 .05)) and > pattimes = (make-weighting '((1 10) (2 2) (3 1))) and > rate = (/ (/ 60 tempo) 4) > repeat n > do > (loop > with times = (next pattimes) > with dur = (next patdur) > for i from 0 below times by 1 > do > (send "cs:i" 1 (* i (/ rate times)) dur)) > (wait rate))) > > (sprout (ritim2 100 120) 0 1) > (stop 1) > > > On Tue, May 20, 2008 at 5:04 PM, U?ur G?ney > wrote: >> # In the (send) case, the timing is correct. Sounds are produced in >> constant time intervals. But in the (sprout (one-note...)) case they >> come in irregular intervals. > > _______________________________________________ > Cmdist mailing list > Cmdist at ccrma.stanford.edu > http://ccrma-mail.stanford.edu/mailman/listinfo/cmdist From tom.brooke at gmail.com Fri May 23 12:32:06 2008 From: tom.brooke at gmail.com (Tom Brooke) Date: Fri, 23 May 2008 19:32:06 +0000 (UTC) Subject: [CM] Which CM CLM References: Message-ID: Tom Brooke writes: > > In reply to my previous post and as an update. I have common music running in SBCL and it is ok for learning and doing the interactive examples in the book. I have snd 9.9 running without motif (I have the motif libraries installed and I have tried to get ./configure to recognize them with the motif-prefix switch but I haven't had any luck) I like snd but I think I would prefer it with the motif interface so any suggestions would be appreciated. I have tried to complie grace and so far no luck. I have Juce installed but I can't get Grace to compile I think I need to edit grace-premake.lua to point to the proper location for Juce but Iam not sure how. Any suggsetions? Maybe a volunteer that knows more about this than I do could make deb packages for the Common Music applications Tom From psycloneranger at gmail.com Sat May 24 08:33:27 2008 From: psycloneranger at gmail.com (Lee Nixon) Date: Sat, 24 May 2008 09:33:27 -0600 Subject: [CM] Getting started Message-ID: I'm using mac system 10.2.8 with clisp version 2.43-2 (downloaded from fink) and I can't get cmn to work. I'm following all of the instructions to the best of my ability and I'm not getting any error messages but the file aaa.eps isn't showing up anywhere. And I don't have ghostscript--was intending to open the eps file with Preview if I could find it. So what is it I'm doing wrong? I'm a musician, not a computer guy, so please, don't tell me to frimfram the bobwip and googaw the geezer because I don't know what a frimfram is or what it does to a geezer. Probably not something good I would suspect. Regards, Lee (musically literate guitarist) From bil at ccrma.Stanford.EDU Sat May 24 11:03:36 2008 From: bil at ccrma.Stanford.EDU (Bill Schottstaedt) Date: Sat, 24 May 2008 11:03:36 -0700 Subject: [CM] Getting started In-Reply-To: References: Message-ID: <20080524180204.M35985@ccrma.Stanford.EDU> In the cmn package, (trace output-file) should show you what file cmn thinks it is writing. The Mac Finder might be able to find it, or just look for any eps file in the current directory. From k.s.matheussen at notam02.no Mon May 26 08:51:07 2008 From: k.s.matheussen at notam02.no (Kjetil S. Matheussen) Date: Mon, 26 May 2008 17:51:07 +0200 (CEST) Subject: [CM] Using Stalin as a realtime extension language for Snd. Message-ID: Lately I've been working on making the Scheme compiler "Stalin" work as an extension language for the realtime system in Snd. Its still a little bit incomplete, and there are some known bugs, but its very cool and there's definitly sound now. Stalin is an almost conforming R4RS Scheme compiler written by Jeffrey Siskind, and it produces code which competes with, and is often faster than, hand-written C. And of course it provides common Scheme features such as closures, higher order functions, lists, vectors, continuations and so on. And since all of this is now available in realtime, this system should provide the first no-compromise realtime music programming environment. Evaluating the following block makes a cloud of 50-60 sinus grains playing simultaniously, spawning a new grain every 15 ms on average: ( (let loop () (spawn :wait (irandom 30):-ms (loop) (define osc (make-oscil :frequency (ibetween 50 2000))) (define duration (ibetween 400 2000):-ms) (define e (make-env '(0 0 0.5 0.05 1 0) :end duration)) (block :dur duration :cont #f (out (* (env e) (oscil osc))))))) (http://www.notam02.no/~kjetism/jack_capture_05.mp3) On my four year old machine, this block uses about 50% cpu time. I think though, that much of that time is spent in the garbage collector/memory allocator, and there are some thing which can yet be done to significantly increase the performance of the garbage collector and memory allocator. Note that everyting inside the block happens inside the realtime thread, including the spawning of new "block" blocks, so scheduling is guaranteed to both be on time and to be frame accurate. (This can be done in the language "Chuck" as well, but at about 100 times (I would guess) slower speed. (I have measured Chuck to be about 40 times slower than the RT compiler when doing frame by frame processing, so Chuck is probably about 100 times (or so) slower than Stalin.)) The following block creates a simple polyphonic midi soft synth: ( (let loop () (wait-midi :cont (loop) (when (midi-play?) (let ((note (midi-note))) ;; Spawn a simple oscillator (define oscillator (spawn (let ((osc (make-oscil :frequency (midi-to-freq note)))) (block (out (* 0.2 (oscil osc))))))) ;; Spawn a job waiting for a stop message for this note. (spawn (wait-midi :cont #f (when (and (midi-stop?) (= note (midi-note))) (stop oscillator) #t))) ;; Got it. Stop waiting for more midi. #t))))) ;; Got it. I think I'll change the syntax a little bit for midi though. The code for Snd is in CVS. Required packages are: Stalin: http://cobweb.ecn.purdue.edu/~qobi/software.html Rollendurchmesserzeitsammler: (at least v0.0.3) http://www.notam02.no/arkiv/src/ libpcl: http://www.xmailserver.org/libpcl.html (Oh, and I've added coroutines to the old "rt" compiler as well, like in Chuck. See the file rt-coroutines.scm) From rbastian at musiques-rb.org Mon May 26 08:03:15 2008 From: rbastian at musiques-rb.org (R. Bastian) Date: Mon, 26 May 2008 17:03:15 +0200 Subject: [CM] ancient music Message-ID: <20080526170315.b9cafcc2.rbastian@musiques-rb.org> Dear Bill, my friend Stephane, music teacher, needs symbols to write scores from late XVe (1450-..): brevis, semi-brevis, maxima, etc. Is there a way to do that in CMN ? Thanks, -- R. Bastian www.musiques-rb.org From bil at ccrma.Stanford.EDU Mon May 26 16:19:01 2008 From: bil at ccrma.Stanford.EDU (Bill Schottstaedt) Date: Mon, 26 May 2008 16:19:01 -0700 Subject: [CM] ancient music In-Reply-To: <20080526170315.b9cafcc2.rbastian@musiques-rb.org> References: <20080526170315.b9cafcc2.rbastian@musiques-rb.org> Message-ID: <20080526231259.M8304@ccrma.Stanford.EDU> > my friend Stephane, music teacher, needs symbols to write > scores from late XVe (1450-..): brevis, semi-brevis, maxima, etc. > > Is there a way to do that in CMN ? Not without some effort. You'd need to write the postscript-like code to draw those symbols -- it's not too hard, if I remember what they look like. cmn-glyphs.lisp has cmn's music font, and accent.lisp has a bunch of simple shapes that might serve as examples. From k.s.matheussen at notam02.no Fri May 30 08:20:32 2008 From: k.s.matheussen at notam02.no (Kjetil S. Matheussen) Date: Fri, 30 May 2008 17:20:32 +0200 (CEST) Subject: [CM] Using Stalin as a realtime extension language for Snd. In-Reply-To: References: Message-ID: On Mon, 26 May 2008, Kjetil S. Matheussen wrote: > Evaluating the following block makes a cloud of 50-60 sinus grains Oops, it just came to my attention that in English, unlike most other languages in the world, sinus is called "sine", while sinus is a part of the nose or something. Well, hopefully no one misunderstood too much what I ment. :-) From gzeusmants at gmail.com Fri May 30 21:50:45 2008 From: gzeusmants at gmail.com (A.W.) Date: Fri, 30 May 2008 23:50:45 -0500 Subject: [CM] snd Bindings for many things different from manual. Message-ID: <613b861a0805302150j2eb7e181w99d83d8311e330cb@mail.gmail.com> I installed from Debian's repository, and it seems to use Alt-*key* for many things. Not even marked M-o to open a file, but Alt-O. is this a Debian patch? I'll compile if I have to, but I'd prefer not to. From gzeusmants at gmail.com Fri May 30 22:06:36 2008 From: gzeusmants at gmail.com (A.W.) Date: Sat, 31 May 2008 00:06:36 -0500 Subject: [CM] snd Bindings for many things different from manual. In-Reply-To: <613b861a0805302150j2eb7e181w99d83d8311e330cb@mail.gmail.com> References: <613b861a0805302150j2eb7e181w99d83d8311e330cb@mail.gmail.com> Message-ID: <613b861a0805302206l5c9f1c3ax4efc38c5e05f8662@mail.gmail.com> and now I feel stupid. I get it, never mind. On Fri, May 30, 2008 at 11:50 PM, A. W. wrote: > I installed from Debian's repository, and it seems to use Alt-*key* > for many things. Not even marked M-o to open a file, but Alt-O. > is this a Debian patch? I'll compile if I have to, but I'd prefer not to. > From gzeusmants at gmail.com Fri May 30 22:31:27 2008 From: gzeusmants at gmail.com (A.W.) Date: Sat, 31 May 2008 00:31:27 -0500 Subject: [CM] GOOD question: multiple directories in load path? Message-ID: <613b861a0805302231u4222b902i10bd243a8a7f3f93@mail.gmail.com> I don't want to mess up the syntax even a little. it's the simple things that cause me the most stress. From gzeusmants at gmail.com Fri May 30 22:52:58 2008 From: gzeusmants at gmail.com (A.W.) Date: Sat, 31 May 2008 00:52:58 -0500 Subject: [CM] Sorry for the flood of questions, load path problem Message-ID: <613b861a0805302252y25ea907atc64cdffa7b3a47bb@mail.gmail.com> I set my load path to /usr/share/snd which is where all the default scm files are, but i keep getting. >primitive-load-path: misc-error: Unable to find file "extensions.scm" in load path (while loading "/home/gzeus/.snd_prefs_guile") ; (load /home/gzeus/.snd_prefs_guile) That file's in there. So far I've tried copying al the files to another directory and setting that as the load path, but to no avail. The file's named properly, even. I'm at a loss, here. it's the not knowing WHY that's frustrating! From gzeusmants at gmail.com Fri May 30 23:20:28 2008 From: gzeusmants at gmail.com (A.W.) Date: Sat, 31 May 2008 01:20:28 -0500 Subject: [CM] Sorry for the flood of questions, load path problem In-Reply-To: <613b861a0805302252y25ea907atc64cdffa7b3a47bb@mail.gmail.com> References: <613b861a0805302252y25ea907atc64cdffa7b3a47bb@mail.gmail.com> Message-ID: <613b861a0805302320h58752d64k80a80ea56bb6d7fc@mail.gmail.com> I can load it manually at the command line, by the way. Is there an error in the syntax for the load path on the site? I copied everything but the directory itself. On Sat, May 31, 2008 at 12:52 AM, A. W. wrote: > I set my load path to /usr/share/snd which is where all the default > scm files are, but i keep getting. >>primitive-load-path: misc-error: Unable to find file "extensions.scm" in load path > (while loading "/home/gzeus/.snd_prefs_guile") > ; (load /home/gzeus/.snd_prefs_guile) > > That file's in there. > So far I've tried copying al the files to another directory and > setting that as the load path, but to no avail. > The file's named properly, even. > > I'm at a loss, here. > it's the not knowing WHY that's frustrating! > From bil at ccrma.Stanford.EDU Sat May 31 03:43:32 2008 From: bil at ccrma.Stanford.EDU (Bill Schottstaedt) Date: Sat, 31 May 2008 03:43:32 -0700 Subject: [CM] Sorry for the flood of questions, load path problem In-Reply-To: <613b861a0805302252y25ea907atc64cdffa7b3a47bb@mail.gmail.com> References: <613b861a0805302252y25ea907atc64cdffa7b3a47bb@mail.gmail.com> Message-ID: <20080531104155.M48703@ccrma.Stanford.EDU> > I set my load path to /usr/share/snd which is where all the default > scm files are, but i keep getting. > >primitive-load-path: misc-error: Unable to find file "extensions.scm" in load path I find this annoying too, but it's Guile's choice -- you need to use load-from-path rather than load if you want it to search the %load-path directories. From bil at ccrma.Stanford.EDU Sat May 31 03:46:16 2008 From: bil at ccrma.Stanford.EDU (Bill Schottstaedt) Date: Sat, 31 May 2008 03:46:16 -0700 Subject: [CM] snd Bindings for many things different from manual. In-Reply-To: <613b861a0805302206l5c9f1c3ax4efc38c5e05f8662@mail.gmail.com> References: <613b861a0805302150j2eb7e181w99d83d8311e330cb@mail.gmail.com> <613b861a0805302206l5c9f1c3ax4efc38c5e05f8662@mail.gmail.com> Message-ID: <20080531104359.M17864@ccrma.Stanford.EDU> > I installed from Debian's repository, and it seems to use Alt-*key* That M-key notation is borrowed from emacs, and goes back to the days when there were keys marked "Meta", "Super", "Hyper", etc. On my Mac, it's actually the "Esc" key, which is very inconvenient. I'm sure there's a way to use "option" or whatever instead, but I've never had time to poke around and find it.