Subject: MAX Digest - 4 Jun 1998 to 5 Jun 1998
Date: Sat, 6 Jun 1998 00:01:06 -0400
From: Automatic digest processor 
Reply-To: MAX - interactive music/multimedia standard environments
To: Recipients of MAX digests 

There are 11 messages totalling 438 lines in this issue.

Topics of the day:

  1. MIDI sample dump
  2. AOK
  3. Lost Authorization (2)
  4. Powerbook I/O
  5. MAX Digest - 3 Jun 1998 to 4 Jun 1998
  6. Max networx / OpenSoundControl
  7. New CD
  8. Numerical properties of random and clocker objects
  9. test
 10. [CORRECTED: PLEASE READ! i.e.] Art Street Festival, Boston (8/98)


Date:    Fri, 5 Jun 1998 00:41:25 -0400
From:    Ken Gregory 
Subject: Re: MIDI sample dump

>So what more can you do with a MIDI sample dump?  I'd at least like to
>be able to convert it to a usable Mac audio file format, and vice versa.

Hello James.

Once you have that sound file saved on your hard drive you can use almost
any sound editing application to modify it in many ways including saving it
as almost any sound file format used by Macs.  Sound Edit 16 is one of the
most popular. Sound Designer by Digidesign is excellent. One of my personal
faves is TurboSynth by Digidesign. And of cource, you can use MIDI sample
dump(MSD) to put that brand new spankin' groovy sound back into your


Ken Gregory
704-138 Portage Ave. East
Winnipeg, Manitoba, Canada R3C 0A1
ph. 204-942-7510  fax 204-942-1555


Date:    Thu, 4 Jun 1998 22:37:53 -0800
From:    Richard Zvonar 
Subject: Re: AOK

On Thu, 4 Jun 1998 12:21:34 -0400 Stephen Kay  wrote:

>AFAIK (as far as I know) AOK is not an actual acronym, but simply
>a (not so contemporary) idiom where AOK =3D very much OK.

I first heard this used by NASA astronauts and launch crews in the early

Richard Zvonar, PhD                    
(818) 788-2202 voice                   
(818) 788-2203 fax                     



Date:    Thu, 4 Jun 1998 22:46:05 -0800
From:    Richard Zvonar 
Subject: Lost Authorization

On Thu, 4 Jun 1998 22:52:27 +0200  marc ravelomanantsoa

>After inserting the expected diskette, I 've got the frightening message :
>    "Error while validating the authorization count. The authorization
>count on
>your key disk has been corrupted, possibly by a pirating utility. You may
>this diskette as a key, but you can't perform any installations or
>removals.             Result code : 107        "
>The situation is that I cannot anymore nor authorize nor deauthorize any

You have my sympathies. This is the same message which you'd get if the
Pace copy-protection code detected the presence of Key Disk Terminator.
Pace causes this self-destruction as a kind of draconian copy-protection.
In some cases even the ability to use the diskette as a key is lost.

I hope Opcode is sympathetic.

You may also want to report this problem to Allen Cronce at Pace
Anti-Piracy .

Richard Zvonar, PhD                    
(818) 788-2202 voice                   
(818) 788-2203 fax                     



Date:    Fri, 5 Jun 1998 09:23:22 +0200
From:    Roby Steinmetzer 
Subject: Re: Lost Authorization

>On Thu, 4 Jun 1998 22:52:27 +0200  marc ravelomanantsoa
>>After inserting the expected diskette, I 've got the frightening message :
>>    "Error while validating the authorization count. The authorization
>>count on
>>your key disk has been corrupted, possibly by a pirating utility. You may
>>this diskette as a key, but you can't perform any installations or
>>removals.             Result code : 107        "
>>The situation is that I cannot anymore nor authorize nor deauthorize any
>You have my sympathies. This is the same message which you'd get if the
>Pace copy-protection code detected the presence of Key Disk Terminator.
>Pace causes this self-destruction as a kind of draconian copy-protection.
>In some cases even the ability to use the diskette as a key is lost.

One month ago I installed MacOS 8.1 on my Powerbook. I had deauthorized Max
When I wanted to reauthorize it the diskette went unreadable.
And there was no KDT present.
Though I immediately asked for a new one, I'm still waiting.
At Opcode they told me that I have to get it through my local distributor.
 he could not find me in his database, then he had to order it at Opcode in
 States which will take 10 days or so...
So for a month now I cannot use Max on my Powerbook and I need it for some
I consider this stupid copy protection to prevent me from doing my job.

Could someone please post a way how to crack copy protection systems?

Roby Steinmetzer
Luxembourg, Europe


Date:    Fri, 5 Jun 1998 09:41:34 +0100
From:    Lawrence Casserley 
Subject: Powerbook I/O

In message <>, Automatic digest
processor  writes
>i think the following extracts from an e-mail conversation with David
>Zicarelli might be interesting for you:
>>That would be paradise: If I need MAX on stage i pick the Powerbook, if I
>>need MSP with more than one stereo I/O, i just coonect some external box =
>>the computer.... wow. Possible ?
>E-mu makes a PC Card audio interface/synth, but they've been resistant
>to making a Mac driver for it. Maybe if they had a lot of people
>bugging them about it.

Anyone know who is best to bug?


Lawrence Electronic Operations -Tel +44 1494 481381 -FAX +44 1494 481454
Signal Processing for Contemporary Music -email


Date:    Fri, 5 Jun 1998 08:14:54 -0400
From:    Greg Hall 
Subject: Re: MAX Digest - 3 Jun 1998 to 4 Jun 1998

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How do you read a multi-track MIDI file (format 1) into MAX?  The seq =
object just reads format 0; how can I get the mtr object to read format =
1(it is multi-track, after all)?  Binary conversion of a format 1 file =
using filein; then reformatting the ascii text?    =20
greg hall
ghall @

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Content-Transfer-Encoding: base64


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Date:    Fri, 5 Jun 1998 08:58:28 -0400
From:    Michael Sweet 
Subject: Re: Max networx / OpenSoundControl

Matt Wright wrote:

>I wrote both of those objects.  I'm curious about the "finally" about
>OTUDP---please let me know what you encountered along the way.

The problems with setting up OTUDP were on my end, I mistook the 68K object
for the PPC object and got the message UDP does not run on a PPC.  If it
had said 'use otudp instead' I would gotten through it quicker.

Thanks for your reply, and since everyone is interested I'll continue with
the esoteric stuff.

>So what happens when you have a Mac receiving OSC messages and trying to
>convert them back into Max data objects?  It doesn't know what the original
>data types were; so it has to look at 4 bytes like 0x41000000 and decide
>whether they're the float 8.0, the string "A" (with some extra null bytes),
>the integer 1090519040.  So it guesses.  The rules it uses to make this

>Remember that the address of each particular OSC message is definitely a
>string, so if all you want to send is strings, you could take advantage of

I am just sending strings back and forth, and although I've read through
your documents, I guess I'm a little slow at understanding (when I have
more time I will read them more thoroughly).  Although I've fixed my
problem by only sending lower case letters back and forth, it be great if
you could point us to a example patch of just sending strings back and

The messages that I'm sending are like the following 'hide Background',
'setxy L-character-EYES 148 169', 'setframe L-character-ARMS 53'. I thought
I was formating it as a full string (instead of a max list) before I sent
it to open sound control, but I will check on that.  Would that would fix
my problems on the output side?



Date:    Fri, 5 Jun 1998 10:25:08 EDT
From:    Bob Gluck 
Subject: New CD

Just a quick note to let people know about my new recording, about to be=
=0Areleased on the Electronic Music Foundation label. The three pieces on=
 it,=0Asome of which was created in Max, are a reflection of my integrati=
on of my=0Alife-long juggle between EM composing and the Jewish musical w=

Here's how I described it in the liner notes (which also includes a blurb=
=0Aabout Max, with which some of the pieces were composed):  =93I imagine=
 joining=0Athe musical sensibilities of (early pioneering electronic comp=
osers) Pierre=0AHenry and Edgard Varese with the resonances, sounds, melo=
dies and experiences=0Aof Jewish life. I picture a meeting place between =
the great cantorial=0Atraditions, candid camera-like snapshots of subtle =
moments of daily, including=0Aritual life, and what I have learned from t=
he evolving new musical=0Atraditions.=94

In any event, the CD is called =93Stories Heard and Retold=94 (EMF 008). =
Many=0Athanks to Joel Chadabe for lots of encouragement and advice and to=
 various=0AMaxers whose pearly words via this forum and other places have=
 been really=0Ahelpful in this project, and to Eric Singer, whose Max obj=
ects were used in=0Asome of the patches.

The CD is available from EMF's CDeMUSIC, 116 North Lake Avenue, Albany NY=
=0A12206. Call (888)749-9998 from within the US or (518)434-4110 from any=
where in=0Athe world, or send a fax to (518)434-0308, or contact CDeMUSIC=
 by email For further information, visit=0Ahttp://www.c= or

Suggestions for posting the fuller press release are welcome--just send m=
e an=0Aemail note. Thanks.

Bob Gluck
Sheffield, MA


Date:    Fri, 5 Jun 1998 21:21:13 +0100
From:    Trond & Laila Linde Lossius 
Subject: Re: Numerical properties of random and clocker objects

Thanks, Peter Castine, for answering my questions.

As suggested, I've tried out a few things concerning clocker and counter

>Why not send a counter a set 2147483647 message, then bang it once to see
>what happens?

It starts counting from zero and up again. According to the manual "if
there are no arguments, the direction is up, the minimum is 0, and there
is no maximum". Apparently the last is not true, MAX_LONG is used as

I also made a small patch controlling a clocker object from a setclock
object progressing by steps of 10000000. For the setclock-object you're

>Normally, adding one to MAX_LONG results in MIN_LONG.

However the clocker object starts behaving rather funny, and I can't
really figure out what's happening to it. The relationsship between
output values from setclock and clocker breaks down, clocker starts
outputing at a much faster frequency, and then after a while stop
outputting at all. If this clocker object provided input to other
objects, the patch would start behaving widely erratic.

I suppose the conclusion is that if one's running patches for so long
that these kind of objects get close to LONG_MAX, one better take
precautions. Even in the case of the counter object, if it's used as
input to a continous function, the shift from LONG_MAX to 0 will cause an
unwanted discontinuity.

I've made a subpatch solving this problem for cyclic functions. I could
mail it to anyone interested.

Trond Lossius


Date:    Fri, 5 Jun 1998 19:50:32 -0400
From:    Fleur de Vie Weinstock 
Subject: test



Date:    Fri, 5 Jun 1998 19:57:45 -0400
From:    Fleur de Vie Weinstock 
Subject: [CORRECTED: PLEASE READ! i.e.] Art Street Festival, Boston (8/98)

        I accidently sent the message yesterday about the Art Street
        Festival before I had finished writing it.  There is important
        information that I added where I left off in yesterday's message,
        so please read through the document below if you are at all
        curious!  Thank you.  --fdvw

Subject: Art Street Festival, August 1998, Boston

        Hi.  I am writing on behalf of Art Street, Inc., in hopes of
discovering performers and volunteers to help put together/participate in
the Art Street Festival which will take place for the whole month of
August on City Hall Plaza in Boston.  The Art Street Festival will be
free, and will include noontime performances every weekday, an open air
gallery, and a day (Aug. 20, Thursday) with a chalk sidewalk drawing
fundraiser, along with a fair featuring Boston arts organizations. Art
Street, Inc. and the Art Street Festival is headed and inspired by street
artist Sidewalk Sam.
        Are you interested in performing?  The free Lunchtime Performances
will happen on every weekday in August on City Hall Plaza.  The current
idea is to have an hour concert of three 20 minute performances by
different groups, every weekday from about noon 'til 1.  Dance, poetry,
music, storytelling, performance art, ...  If you would like to perform,
please answer by responding to the "Performance Programming" form at the
end of this message.  Sometime before August, we at Art Street, Inc. will
put together a game plan of performances, and let you know if we are
hoping to have you.
        Also, we would like to have 70 to 80 volunteers to help with the
special events (Chalk One Up For The Arts sidewalk drawing fundraiser, and
a Get To Know Boston Arts fair) on August 20th (raindate August 21st).  If
you are even slightly curious about assisting with this, just email back
your contact information (name, phone, email, address), and we'll contact
you with more information.
        Also, if you are interested in being a more general volunteer:
perhaps you are interested in helping put together the Art Street Festival
from the ground up.  If this is the case, please also respond with contact
information (name, phone, email, address) and an expression of interest.
The Art Street Festival is a forum looking to bring many expressions of
art more into everyday life, and the everyday life of anyone who can be in
City Hall Plaza on some weekday of August.  Free street art is both a way
of giving opportunities to artists and reevaluating the way society
conceptualizes and creates the "street."  Offering events that make no
economic requirements of the audience allows for more inclusive and
potentially more powerful art.  Do you believe art should be more
accessible, and more plentiful?
        We look forward to hearing from many of you.  Email is the most
convenient way to receive a response, but you can also call or write me.

Fleur de Vie Weinstock                
Associate of Art Street, Inc.
3 Sacramento St
Cambridge MA  02138

Here is the Performance Programming form.  Please respond to it if you are
interested in performing.  (We will formulate a game plan of performances
later in the summer, and get back to you if we would like you to be one
the pieces in the puzzle.)

                        PERFORMANCE PROGRAMMING

TYPE OF PERFORMANCE: _____________________________________________________
GROUP NAME (HOW THEY WILL BE LISTED IN PROGRAM) __________________________
CONTACT PERSON: __________________________________________________________
TELEPHONE #: ______________________ EMAIL: _______________________________
ADDRESS: _________________________________________________________________
INSTITUTION AFFILIATION: _________________________________________________
CONNECTION TO ART STREET: ________________________________________________
DESCRIPTION OF PERFORMANCE: ______________________________________________
LENGTH OF PERFORMANCE: ___________________________________________________
NUMBER OF GROUP MEMBERS: _________________________________________________
EQUIPMENT NEEDS: _________________________________________________________
OTHER NEEDS: _____________________________________________________________

AVAILABLE DATES: _________________________________________________________
AVAILABLE TIMES: _________________________________________________________


End of MAX Digest - 4 Jun 1998 to 5 Jun 1998