Subject: MAX Digest - 27 Feb 1999 to 28 Feb 1999 - Special issue (#1999-68)
Date: Sun, 28 Feb 1999 18:32:47 -0500
From: Automatic digest processor 
Reply-To: MAX - Interactive Music/Multimedia Standard Environments
     
To: Recipients of MAX digests 

There are 9 messages totalling 703 lines in this issue.

Topics in this special issue:

  1. looping with line~ and play~
  2. fft~ ...ifft~
  3. Ticks into Date to determine Seed into Random (2)
  4. max manual prominantly (?) displayed
  5. the bonk~ brothers
  6. 
  7. Electronic live concert - WebCast (8 Mar 1999)
  8. play~, line~ loop

----------------------------------------------------------------------

Date:    Sun, 28 Feb 1999 12:09:04 +0200
From:    Tom Mays 
Subject: Re: looping with line~ and play~

Thanks David Z for that looper patch.

Here's a little front end for it that allows reversing and
practical loop selection. Open the buffer~ and select the loop
by dragging the mouse over the waveform. If you drag to the
left it loops backwards...   If you just click and release in one place
it stops.

De-clicking not withstanding   ;-)
(I used a speech sample, and one can always find quiet places to loop.)

I used the same front end on a groove and then tested cpu usage with
five of them at once. 5 count~ and play~ loopers used about 13 to 16 %
on a g3-266, and 5 groove~ loopers seemed to use about 14 to 17 %
(you know how these things fluctuate). So it seems the the sample
accurate solution is "slightly" less costly, although they're about the
same.

!gnixaM yppaH !gnixaM yppaH !gnixaM yppaH !gnixaM yppaH !gnixaM yppaH
!gnixaM yppaH !gnixaM yppaH !gnixaM yppaH !gnixaM yppaH !gnixaM yppaH
!gnixaM yppaH !gnixaM yppaH !gnixaM yppaH !gnixaM yppaH ...

tm

max v2;
#N vpatcher 27 49 663 570;
#P newex 153 459 39 196617 *~ 0.2;
#P newex 375 36 45 196617 loadbang;
#P comment 10 374 100 196617 declicking is left to the reader as an
exercise.;
#P comment 11 341 100 196617 click/release in one place and it stops;
#P comment 11 310 100 196617 drag to the left and it loops backwards;
#P comment 11 281 100 196617 drag to the right and it loops forward;
#P newex 151 367 60 196617 selector~ 2;
#P newex 515 411 18 196617 t i;
#P newex 510 361 53 196617 sel 1 -1 0;
#P message 532 389 14 196617 2;
#P message 494 389 14 196617 1;
#P message 573 395 27 196617 stop;
#P newex 539 288 27 196617 - 0.;
#P newex 536 310 53 196617 clip -1. 1.;
#P flonum 527 339 35 9 0 0 0 3;
#P newex 192 316 27 196617 -~;
#P newex 209 295 27 196617 -~;
#P newex 350 104 35 196617 pipe 0;
#P newex 392 125 35 196617 del 50;
#P flonum 357 312 82 9 0 0 0 3;
#P newex 357 287 60 196617 minimum 0.;
#P flonum 442 312 82 9 0 0 0 3;
#P newex 442 287 63 196617 maximum 0.;
#P newex 427 246 27 196617 f;
#P newex 397 246 27 196617 f;
#P newex 373 216 44 196617 TogEdge;
#P message 399 146 14 196617 0;
#P toggle 395 195 15 0;
#P newex 395 174 27 196617 &&;
#P toggle 357 81 15 0;
#P button 357 38 15 0;
#P newex 357 57 66 196617 Mousestate;
#P flonum 428 83 63 9 0 0 0 3;
#P comment 84 63 59 196617 begin (ms);
#P comment 148 63 50 196617 end (ms);
#P newex 223 85 60 196617 t b b f;
#P newex 79 128 27 196617 / 1.;
#P newex 138 128 27 196617 / 1.;
#P flonum 223 63 35 9 0 0 0 3;
#P newex 151 414 108 196617 *~ 1.;
#P button 90 75 15 0;
#P toggle 112 435 15 0;
#P newex 152 482 29 196617 dac~;
#P flonum 79 103 54 9 0 0 0 3;
#P flonum 138 103 54 9 0 0 0 3;
#P newex 138 149 64 196617 mstosamps~;
#P newex 150 221 61 196617 pack 0. 0.;
#P message 150 242 79 196617 set \$1 \$2 \, bang;
#P newex 96 172 64 196617 mstosamps~;
#P newex 151 260 38 196617 count~;
#P newex 151 388 64 196617 sampstoms~;
#P newex 151 438 50 196617 play~ foo;
#P newex 428 57 59 196617 buffer~ foo;
#P message 428 26 28 196617 read;
#P newex 423 103 68 196617 t b i f;
#P comment 11 213 100 196617 open the buffer window and select loop points
by clicking and dragging mouse;
#P comment 258 64 68 196617 speed control;
#P connect 3 0 4 0;
#P connect 13 0 20 0;
#P connect 12 0 19 0;
#P connect 30 0 28 1;
#P connect 9 0 7 0;
#P connect 46 0 49 0;
#P connect 56 0 14 0;
#P connect 56 0 14 1;
#P connect 55 0 26 0;
#P connect 21 0 13 0;
#P connect 21 2 20 1;
#P connect 21 1 12 0;
#P connect 21 2 19 1;
#P fasten 21 2 17 1 278 206 254 206;
#P fasten 20 0 8 0 84 157 101 157;
#P connect 45 0 7 0;
#P connect 19 0 11 0;
#P connect 17 0 5 0;
#P connect 11 1 41 0;
#P connect 11 1 10 1;
#P connect 10 0 9 0;
#P connect 8 1 10 0;
#P connect 8 1 40 1;
#P connect 7 0 50 1;
#P connect 7 0 40 0;
#P connect 6 0 17 0;
#P connect 5 0 56 0;
#P connect 4 0 24 0;
#P connect 2 0 38 0;
#P connect 2 1 28 1;
#P connect 2 2 32 1;
#P connect 2 2 33 1;
#P connect 25 0 27 0;
#P connect 26 0 25 0;
#P connect 50 0 6 0;
#P connect 49 0 50 0;
#P connect 47 0 49 0;
#P connect 48 0 46 0;
#P connect 48 1 47 0;
#P connect 48 2 45 0;
#P connect 44 0 43 0;
#P connect 42 0 48 0;
#P connect 43 0 42 0;
#P connect 41 0 50 2;
#P connect 40 0 41 1;
#P connect 39 0 28 0;
#P fasten 37 0 13 0 362 340 337 340 337 49 84 49;
#P connect 38 0 30 0;
#P fasten 35 0 12 0 447 348 324 348 324 59 143 59;
#P connect 36 0 37 0;
#P connect 34 0 35 0;
#P connect 33 0 36 0;
#P connect 33 0 34 0;
#P connect 33 0 44 0;
#P connect 32 0 36 1;
#P connect 32 0 34 1;
#P connect 32 0 44 1;
#P connect 31 0 32 0;
#P connect 31 1 33 0;
#P connect 28 0 29 0;
#P connect 16 0 13 0;
#P connect 24 0 2 0;
#P connect 18 0 21 0;
#P connect 15 0 14 0;
#P connect 27 0 39 0;
#P connect 29 0 31 0;
#P pop;

------------------------------

Date:    Sun, 28 Feb 1999 13:30:25 +0100
From:    Mats Claesson 
Subject: Re: fft~ ...ifft~

--============_-1291917469==_ma============
Content-Type: text/plain; charset="us-ascii"

 Joachim Gossmann wrote

Subject: Ticks into Date to determine Seed into Random

I'm sending the ticks message into the Date object to determine
a seed value to send into the random object.

Q:  What's the largest practical seed message value
that can be sent into the random object?
.................................................................
Q:  Also, what does the seed message request of the random object?

Thanks

Steve Smith

___________________________

------------------------------

Date:    Sun, 28 Feb 1999 12:20:14 -0500
From:    James Garfield 
Subject: Re: max manual prominantly (?) displayed

Automatic digest processor wrote:
>
> Date:    Sat, 27 Feb 1999 20:08:35 -0600
> From:    William Sethares 
> Subject: max manual prominantly (?) displayed
>
> I was looking at the pictures in this months Keyboard
> magazine (April 99) and saw on page 34 a photo of Jeff
> Rona's studio. I was thinking what a great collection of electronics,
> when I observed the only book visible - the MAX manual.

Does anyone know how he uses Max in a film scoring context?  I'm really
curious...

BTW, is anyone else as awesturck as I am over that picture of Hans
Zimmer's Moog Modular???????  What a monster!!!!

---James

--
======================================================================
James Garfield                                      badrats@badrat.com
BadRat Multimedia Productions                    http://www.badrat.com

------------------------------

Date:    Sun, 28 Feb 1999 12:37:21 -0500
From:    Stephen Kay 
Subject: Ticks into Date to determine Seed into Random

Steve Smith said:
>I'm sending the ticks message into the Date object to determine
>a seed value to send into the random object.

>Q:  What's the largest practical seed message value
>that can be sent into the random object?

I would imagine that it's a 32-bit, signed integer.  That means
in the range of -2,147,483,648 to 2,147,483,647.

BTW, if you ever want to know the maximum value which can be
represented by "n"-bits, for unsigned integers it's
2 to the "n" power (2 ^ n); for signed integers it's =

-((2 ^ n) / 2) to (((2 ^ n) / 2) - 1)

>Q:  Also, what does the seed message request of the random object?

There are no true random numbers which can be generated on
a computer - only mathematical algorithms that produce what
appears to be a random distribution over a period of time.

The seed message gives the object the "starting seed" for
the string of pseudo-random numbers that will be generated.The
seed is modified each time a new number is generated.  A
mathematical equation is performed on the seed, such that =

an apparently random number within a certain range is returned.
Resetting to the same seed will cause the same series of
random numbers to be generated.

Stephen Kay

------------------------------

Date:    Mon, 1 Mar 1999 10:49:08 -0800
From:    Xavier Chabot 
Subject: the bonk~ brothers

So many bonks these days. There is a conflict between bonk~ by Puckette
and Apel and bonk~ on Spat by J.M. Jot, IRCAM
it is easy enough to rename it yourself, but maybe one of them should
change its name in future releases isn't it?

regards
xavier

------------------------------

Date:    Sun, 28 Feb 1999 22:24:55 +0100
From:    Roland Cahen & Ruth Sefton-Green 
Subject: 

L'ECOLE NATIONALE DE MUSIQUE DU PAYS DE MONTBELIARD
ACCUEILLE DU SAMEDI 6 MARS AU MARDI 9 MARS 1999

RENCONTRES MUSIQUES SCIENCE TECHNOLOGIES ET COMMUNICATION
renseignements ENM 4 cour du Ch‰teau, 25200 MontbŽliard
tŽl + 33 381 99 39 60/ fax + 33 381 99 39 60 /e-mail :
enm@district-montbeliard.fr

PROGRAMME :

Samedi 6 mars

09h45                   accueil

10h15
ouverture des rencontres, par Jacques CLOS, directeur de la musique au
District
du Pays de MonbŽliard, directeur de l'Ecole Nationale de Musique

10h30
AndrŽ RIOTTE, compositeur, ingŽnieur, rŽdacteur en chef de la revue
Musurgia,
vice-prŽsident de la  SociŽtŽ Franaise d'Analyse Musicale , PrŽsident de
la SociŽtŽ Franaise d'informatique Musicale
Ç Les rapports musique et sciences au XX¡ sicle È

11h30
Pierre MICHEL, musicologue, UniversitŽ de Strasbourg
Ç Aspects structurels et sources d'inspiration scientifiques dans l'|uvre
de Gyšrgy LIGETI È

14h00
Marcel MESNAGE , informaticien, chercheur (Bruxelles)
Ç la notion de modle et d'algorithme : leur exploitation dans une dŽmarche
compositionnelle interprŽtable
par un systme midi È

14h45
Marc CHEMILLIER, universitŽ de Caen
Ç un modle informatique d'une pice de LIGETI : Melodien È

15h45
Claude CADOZ, ingŽnieur de recherche au ministre de la Culure, directeur de
l'ACROE (Association pour la crŽation et la recherche d'outils d'espression,
Grenoble)
Ç prŽsentation des travaux de l'ACROE autour de la synthse par modles
physiques  et de la mise en |uvre d'outils informatiques pour la crŽation
musicale et multisensorielle : synthse de son, d'image animŽe, le ges-
te instrumental avec l'ordinateur, la simulation d'objets physiques pour la
crŽation artistique, la relation
instrumentale avec l'ordinateur. È
Ç la crŽation artistique et la crŽation scientifique, pŽdagogie de la
crŽation artistique ˆ partir du paradigme du
modle physique È

16h45                   Pause

17h00
Claudy MALHERBE, compositeur
Ç autour de son |uvre Ç LOCUS È pour voix, inspirŽe des travaux sur la
phonŽtique de Petitot (les catastrophes de la parole È

18H30                   Concert
Claudy MALHERBE : Ç Vol de (fEmme)x avec Linda Brisi, soprano
                        LIGETI : Continuum Michel LaizŽ, clavecin

Dimanche 7 mars

9h30 ˆ 18h00
Ateliers Forum de l'IRCAM, Centre Georges Pompidou, M. Poletti.

09H30
Norbert HILAIRE, chercheur indŽpendant,spŽcialisŽ dans l'Žtude des rapports
entre philosophie,arts, science et technologie. Auteur de nombreuses Žtudes
Enseignant (Villa Arson, Ecole des Beaux Arts dAix en Provence)
Ç les changements de paradigmes au cours du XX¡ sicle, le passage de la
pensŽe cartŽsienne ˆ la pensŽe
systŽmique, en passant par la thŽorie des catastrophes, du chaos
dŽterministe ˆ l'Žtude de la complŽxitŽ È

10H30
GŽrard WEISBUCH  Laboratoire de Physique Statistique de l'Ecole Normale
Superieure.
"Que raconte le physicien au musicien?"

Les champs d'application des mŽthodes issues de la physique s'est
considŽrablement accru depuis les annŽes 70 grace ˆ certaines decouvertes
sur les transitions de phase. Nous dŽvelopperons les idŽes de classes
d'universalitŽ et de propriŽtŽs gŽnŽriques et expliquerons ce qu'elles
peuvent apporter ˆ la comprŽhension des systmes complexes en Biologie et
en Sciences Sociales. Eclaireront-elles notre comprŽhension de la musique
au confluent du cognitif et du social?

11H30
Eric SCHWARZ, Centre Interfacultaire d'Etudes SystŽmiques de Neuchatel
(Suisse)
Ç ThŽories des sytmes et mouvement systŽmique : quelques rappels sur le
paradigme mŽcaniste empirico-
rationaliste,  quelques rŽflexions pour interprŽter les systmes complexes
auto-organisants viables, nouvelle organisation des savoirs È

14H00
Pierre BONGIOVANI, co-directeur du Centre International de CrŽation VidŽo
(MontbŽliard-Belfort)
Ç La rŽvolution du numŽrique È

15H00
Fabrice GUEDY, musicien, chercheur, Atelier des Feuillantines Paris
Ç HAGOROMO ,La femme-cygne È
Ç CrŽation musicale d'un cycle de ha•kus, a travers le rŽseau internet, par
des classes de l'Atelier des Feuillantines, ˆ Paris, et une Žcole de
Shimizu (Japon). È

16H00                   Pause

16H15
Pierre DUTILLEUX, chercheur au  Zentrum fŸr Kunst und Medientechnologie
(ZKM) Centre d'Art et de Technologie des MŽdias, Institut de Musique et
d'Acoustique, Karlsruhe
Kiyoshi  FURUKAWA, compositeur (Japon)
Ç OpŽras MultimŽdia, le r™le de l'ordinateur dans trois crŽations du ZKM È
Ç Den Ungeborenen Gšttern È, Musical scenes for singer,chamber ensemble,
and interactive computer
system  (prŽsentation )

17H15
Michael WAISVICZ, Studio voor electro instrumentale muziek (STEIM)
(Amsterdam)
Ç dispositifs interactifs de contr™le È

18H15
P•erre DUTILLEUX, Kiyoshi  FURUKAWA
ÇInstruments virtuels, instruments du futur. Les modles physiques. È

20H30                   Concert Michael WAISVICZ  (au Ç Cube È ˆ Audincourt)

Lundi 8 mars

9H30
Pierre  DUTILLEUX,  Zkm
Ç acoustique des salles et recherche musicale : simulation d'acoustiques È

10H30
Yan ORLAREY, compositeur, responsable de la recherche ˆ Grame (Lyon)
Les logiciels musicaux ont largement bŽnŽficiŽ, en terme de facilitŽ
d'utilisation, de l'Žvolution des interfaces utilisateur graphiques. Pour
autant, l'accs ˆ une certaine forme de Ç programmabilitŽ È reste
essentielle pour qui veut penser et expŽrimenter des processus, des
structures et des concepts musicaux ˆ un plus haut niveau d'abstraction et
surtout avec une trs grande libertŽ. Comme le montrera l'exposŽ, il est
possible de doter un logiciel musical de type Žditeur de capacitŽs de
programmation puissantes, sans pour autant recourir ˆ un langage de
programmation extŽrieur, mais en intŽgrant aux objets musicaux manipulŽs
les concepts d'abstraction et d'application du Lambda-Calcul.

11H30                   Pause

11H45
Kiyoshi FURUKAWA et Pierre DUTILLEUX
Ç Swim Swan È, pice pour clarinette et dispositif multimŽdia.

14H00
Pierre-Laurent  AIMARD, Pianiste, profsseur au CNSMP, ensemble Inter-
contemporain, Marco STROPPA , chercheur, compositeur,
Ç les problmes posŽs par la situation actuelle entre sciences musiques et
technologies È
Ç le travail autour de deux pices de Marco STROPPA : Trajectoires pour
piano et sons synthŽtiques
incidences sur l'Žcriture instrumenale : Miniatures pour piano seul

16H30
GŽrard ASSAYAG, responsable de recherche ˆ l'Ircam, Georges BLOCH ma”tre
de confŽrences  ˆ l'universitŽ Marc Bloch de Strasbourg et directeur du
centre
PRIMUS

"hors-temps et en-temps, de xenakis aux musiques interactives (avec
reconstruction dynamique d'une pice de Xenakis en OpenMusic, Herma).

CONCERT, Temple Saint Georges
20H30                   Irina KATAEVA, Pierre Laurent AIMARD, pianos
Marco STROPPA , dispositif de projection du son

Gyšrgy LIGETI :
Etudes pour piano
N.17 A bout de souffle
N.7 Galamb Borong
N.9 Vertige
N.10 Zauberlehrling
N.13 L'escalier du diable

Monument pour deux pianos
1.Monument
2. Selbsportrait
3. Bewegung

Marco STROPPA :
Miniature Estrose, premier livre (1991-95) (sŽlection)
Moai: dazzling, hieratic.
Innige Cavatina: beklemmtund imaginatif.
Tangata Manu: prestissimo inafferrabile, azzurro.
de Traiettoria (1982-84) pour piano et sons gŽnŽrŽs par ordinateur.
Traiettoria...deviata Dialoghi

Mardi 9 Mars

9H30-13H00 ATELIERS
Franois ESTAGER, M. LETZ, Grame (Lyon)
Ç Atelier Instrumental interactif autour des systmes Elody et Interactors È

Roland CAHEN, compositeur, ENM MontbŽliard
Ç systmes de diffusion octophoniques et dipositifs interactifs È

14H30
Pierre BONGIOVANI, Jacques CLOS, Norbert HILLAIRE, M. RITTER
UniversitŽ de Besanon ....
Ç Quelles places pour les sciences , les nouvelles technologies,
l'interactivitŽ
et la crŽation multimŽdia dans la formation du musicien ? Quels changements
pour nos institutions È

16H00                   Clotžre des rencontres.

------------------------------

Date:    Sun, 28 Feb 1999 23:21:33 +0100
From:    "Dr. Karlheinz Essl" 
Subject: Electronic live concert - WebCast (8 Mar 1999)

Dear friends!

The composers Richard Barrett and Karlheinz Essl will perform an electronic
live concert with improvisations at the "rhiz" in Vienna together with the
e-guitar player Daryl Buckley from the Australian ELISION ensemble. The
concert will be broadcasted live on the Internet.

                Mo, 8 Mar 1999
                20:00 - 23:00 MET

Live at "rhiz" (Vienna):

                TRANSMISSIONS
                improvisations / interactions

                Richard Barrett (UK):  sampler,  electronics
                Daryl Buckley (AUS):   e-guitar, electronics
                Karlheinz Essl (A):    computer, electronics

Live-Broadcast via WebCam (remote-controllable) and RealAudio:

                http://www.rhiz.org

Join in.

   Dr. Karlheinz Essl - Composer
   Vienna / Austria
   Studio for Advanced Music & Media Technology
   http://www.essl.at/

------------------------------

Date:    Mon, 1 Mar 1999 00:33:04 +0000
From:    filip 
Subject: play~, line~ loop

--------------1206563D426FF037AD9463F4
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x-mac-creator="4D4F5353"
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dear bob ostertag, i am pleased to read your message on this list, since
i was deeply influenced by your music when i was creating this patch
called lloopp.
Basically i think it does what you need except of it is not yet
implemented for midi since me and friends of mine using this patch are
not using a midi-controller at this time.
But it is not a big thing to make it respond to midi and i would be
happy, if your interest in this patch would lead me to modifie it.
Lloopp needs a little external-management before it sings and not
everything is clear at the first look but there is also a tiny manual
embedded in the patch as "info".
A download can be found at
www.rhiz.org/patches

Best wishes klaus

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dear bob ostertag, i am pleased to read your message on this list, since
i was deeply influenced by your music when i was creating this patch called
lloopp.

Basically i think it does what you need except of it is not yet implemented for midi since me and friends of mine using this patch are not using a midi-controller at this time.
But it is not a big thing to make it respond to midi and i would be happy, if your interest in this patch would lead me to modifie it.
Lloopp needs a little external-management before it sings and not everything is clear at the first look but there is also a tiny manual embedded in the patch as "info".
A download can be found at
www.rhiz.org/patches

Best wishes klaus --------------1206563D426FF037AD9463F4-- ------------------------------ End of MAX Digest - 27 Feb 1999 to 28 Feb 1999 - Special issue (#1999-68) *************************************************************************