Subject: MAX Digest - 13 Oct 1999 to 14 Oct 1999 (#1999-298)
Date: Fri, 15 Oct 1999 00:00:26 -0400
From:
Automatic digest processor <LISTSERV@LISTS.MCGILL.CA>
Reply-To: MAX - Interactive Music/Multimedia Standard Environments <MAX@LISTS.MCGILL.CA>
To: Recipients of MAX digests <MAX@LISTS.MCGILL.CA>


There are 17 messages totalling 567 lines in this issue.

Topics of the day:

  1. pahr-lay voo frahn-say???
  2. TCPReceive
  3. ftom
  4. Max intercept keypresses
  5. background/forground
  6. Opcode demise (2)
  7. Fear and Loathing on Middlefield Ave (2)
  8. Opcode speculation
  9. Opcode demise: Time to group and speak up?
  10. pitch bend vs. frequency bend
  11. MAX Digest - 12 Oct 1999 to 13 Oct 1999 (#1999-297)
  12. sxformat
  13. Capturing Still Images
  14. Opcode
  15. Gibson announcement (if one can call it that)

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

Date:Wed, 13 Oct 1999 22:17:19 -0700
From:dudas <dudas@CNMAT.BERKELEY.EDU>
Subject: pahr-lay voo frahn-say???

David Crandall writes,
>Downside might be having to learn French for the manuals...

I think the only Max manual in Fremch was Manoury's Max users manual, an
internal ircam doc from September 1989. Other than that, I don't believe
there's ever been a Max manual in French, as Miller wrote the original
reference manual (june 1989) in English. (OK, OK, I know someone will want
to get picky about the .help file for unpack or whatever it is)

And just for the record, I believe Ircam still maintains its users manuals
in English (except for some new manuals' first editions), much to the
chagrin of the francophones.

Did anyone in France notice the amusing name of the new Russian prime
minister?! I guess you guys put the letter "e" at the end to make the
pronunciation a bit less embarassing, but then it turns into the Quebecois
national dish - french fries with gravy.

Bon appetit.

-Xoaz

P.S. Bravo! Eric Lyon and Christopher Penrose on the FFTease suite. I
just wish I had time to take a look at them (not to mention a computer fast
enough to run them). If I had to judge the objects solely by their names,
which is about all I can do at this point, you guys would win some kind of
prize. My favorite is morphine~ (my mother was a nurse, so it brings back
nice childhood memories).

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

Date:Thu, 14 Oct 1999 02:51:13 EDT
From:Panaiotis Panaiotis <Panaiotis@AOL.COM>


Subject: TCPReceive

How about an argument that tells the object which type of outlet you want,
like the trigger object. You could implement this a few ways:

1) allow only one type per instance. The object takes on argument and outputs
one type.
2) allow more than one type per instance, adding outlets as requested in the
argument. This speeds up processing (over outlet_anything) and provides a
type filter/router. (This is very similar to Stephen Kay's suggestion).

-Panaiotis

In a message dated 10/14/99 12:02:07 AM, LISTSERV@LISTS.MCGILL.CA writes:

>1/ should the TCPReceive object have one outlet or one each for bangs,
>ints, floats and lists.
>The question is related to the fact that outlets that acn outlet anything
>(bangs, ints, float and lists) does an automatic lookup before outputting
>which slows down performance. Implementing separate outlets allows banhs,
>floats and ints to outlet without the extra overhead.
>Any opinions?

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

Date:Thu, 14 Oct 1999 09:31:24 +0200
From:Jeffrey Burns <jeff@BERLIN.SNAFU.DE>
Subject: ftom

>I am building a patch that can select frequencies, and play back samples in
>the exact same pitch.
>The ftom object is good for the semi-tones, but I would also like to derive
>pitchbend values, to get things just right. I am going to have different
>samples assigned to each semi-tone in correct pitch,
>so what the patch should do is to decide which sample should play back with
>a certain amount of pitchbend to it. My sampler is capable of setting the
>low/hi pitchbend in the range of +/- 24 semitones. Any ideas anyone?

Have a look at the ftom help file. It contains an expr object with the
formula for frequency to midi (float) conversion.

Jeff Burns

http://www.snafu.de/~jeff

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

Date:Thu, 14 Oct 1999 09:31:24 +0200
From:Jeffrey Burns <jeff@BERLIN.SNAFU.DE>
Subject: Max intercept keypresses

> I thought it was the case that MAX would intercept Mac keypresses even if
>it was in the background. I want to have MAX be triggered in the background
>by hitting keys on the keypad. I remember this used to be possible.

Use QKsend by Peter Castine. It's great. (Version 3.5.2r1 is the latest
version of QuiKeys that it talks to.)

Jeff Burns

http://www.snafu.de/~jeff

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

Date:Thu, 14 Oct 1999 10:10:31 +0200
From:Peter Castine <pcastine@PRZ.TU-BERLIN.DE>
Subject: Re: background/forground


On around 12=AD10=AD1999 23:42, Jeff Rona said something like:

> I thought it was the case that MAX would intercept Mac keypresses even if
>it was in the background. I want to have MAX be triggered in the backgroun=
d
>by hitting keys on the keypad. I remember this used to be possible.

The OS doesn't normally pass keydowns to a background app. They all go to
the foreground app.

That shouldn't stop Max from polling _GetKeys.

How the relevant Max externals get information is up to them. My
recollection is that key and keyup wait for the OS to send events, but
that MouseState polls the state of the mouse button (which will work in
b/ground). But it's easy enough to test yourself.

I think you'll have to program a custom external to poll keyboard state
while you're in the b/ground. Or has anyone done this already?

>Also, can a MAX app be made into a floating palette to stay in the
>foreground? This is for a different use.

I dunno for sure. But it's not likely.

Normally, a floating palette floats within its layer. That is, it floats
at the top when the app is the foreground app. But palettes belong to
apps, and the windows of a foreground app are always in front of the
windows of other apps. In general, floating palettes are supposed to
disappear entirely when the owning app is put into the background.

This is the Mac UI, not OSF/Motiv.

Some utilities manage to keep a windoid in the foreground, no matter what
app is up front. It's tricky and tends to break on every new OS release.


Cheers,

Peter

----------------- http://www.prz.tu-berlin.de/~pcastine/-----------------
Dr. Peter Castine| I am very pleased to announce that the
4-15 Music & Technology| 26th International Computer Music Conference
| will take place in Berlin in the year 2000.
| We look forward to seeing you here!

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

Date:Thu, 14 Oct 1999 10:32:19 +0100
From:Vincent Puig <Vincent.Puig@IRCAM.FR>
Subject: Opcode demise

>Date:Wed, 13 Oct 1999 13:44:14 -0400
>From:
David Crandall <dcrand1@GL.UMBC.EDU>
>Subject: Re: Opcode demise: Time to group and speak up?
>
>Just curious, since I don't know for sure... but wouldn't there be legal
>grounds for IRCAM to just say, OK it was ours to license to Opcode, now
>give it back?
>
>Downside might be having to learn French for the manuals...
>

Except Philippe Manoury Max Manual wrote 10 years ago, I am not aware of a


French manual for Max (we tried to convice French Opcode Distributor to
make it in the past but it never happened). More seriously, it is true that
IRCAM owns rights on Max and that, except if Opcode react to our official
letters in the next weeks, we will be free to discuss new (and hopefully
better) collaborations with other companies among which Cycling74 is of
course a serious option.

Vincent Puig
IRCAM
1 place Igor Stravinsky
75004 Paris
France
Tel: (33) (0)1 44 78 49 59
Fax: (33) (0)1 44 78 15 40
email : puig@ircam.fr

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

Date:Thu, 14 Oct 1999 02:28:26 -0700
From:David Zicarelli <zicarell@CYCLING74.COM>
Subject: Re: Fear and Loathing on Middlefield Ave

Nicholas Longo <71477.2332@COMPUSERVE.COM> writes:

>OK, I'll spill some beans for you. A friend of mine was one of the
>developers of ZIPI, Lynx Crowe. Lynx was Don Buchla's programmer for
>sixteen years. When Gibson bought ZETA systems and Oberheim, they
>hired him to develop ZIPI and a compatible OS for the OBMX. Last time
>I talked to him he was in the middle of an $8 million suit/counter
>suit with Gibson over the IP rights.

No one interested in this case should fail to read the following,
written in 1997:

http://www.flash.net/~sgoldin/summary.html

David Z.

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

Date:Thu, 14 Oct 1999 02:50:48 -0700
From:David Zicarelli <zicarell@CYCLING74.COM>
Subject: Opcode speculation

I want to addres the opinions and speculations of participants on
this list about Max and Opcode.

I am more than a little concerned about the uninformed speculation
occurring here about the situation, particularly because I have
neither the time nor the inclination to spell out the many arcane facts
surrounding the ownership of the intellectual property and
publishing rights. I will admit however, all of you are not
the only ones worried by what appears to be happening at
Opcode. I have invested a very large amount of money, not to mention
the last ten years of my life, in the development of this software
and related items, so you can be assured that I am not going to give
that up easily. WIth the forthcoming Windows and BeOS ports of
Max, the program is ready to move to another level of interest
and I am committed to seeing that happen.

With respect to concerns I hear about the future of Max, let
me say that, at least as far as the development and maintenance
of the program is concerned, Cycling '74 already handles all
of this. We also handle Max support for anyone who asks us.
The only thing we cannot do at this time is handle copy
protection issues such as replacing key disks or responding to
challenges because we don't have access to the Opcode database


and cannot verify anyone's ownership of the product. However,
if you have a way of proving your ownership, we can probably
find a way to help you. Many of Opcode's distributors also
have relationships with Cycling '74 (check our web site for
a list) and we can handle Max support issues through them, since
we trust that these distributors have registration cards, etc.
for Max users in their country. For instance, today I sent
out about ten responses to challenges given to me by Opcode's
Japanese distributor, Cameo Interactive.

I have placed a copy of the latest Max installer on the Cycling
'74 web site. I will be updating this with an OS 9-friendly version
in the near future.

Obviously, the one thing we cannot do is sell Max by itself.
But, I would respectfully ask you to let me deal with that
problem right now. I will tell you that I have already been
working on it for almost two years.

David Z.

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

Date:Thu, 14 Oct 1999 09:36:06 -0400
From:Neal Farwell <nfarwell@FAS.HARVARD.EDU>
Subject: Re: Opcode demise: Time to group and speak up?

Yes, we should somehow group up...

It occurred to me that Max is never quite mass-market (so there's not much
gain for Gibson(?) in clinging to the IP rights) but is of central value to
many of its users (on this list and elsewhere). Could this stance be of use?

IRCAM (no comment on their present behaviour) doesn't have a history of
being the most responsive institution to outside suggestions...

And what about OMS? How will that be maintained? Or will we have a battle
between FreeMIDI and whatever Steinberg uses?

By the time any lawsuits work through, we'll have been forced to follow the
market...

I vote for David Z.


Somewhat distractedly,
Neal

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

Date:Thu, 14 Oct 1999 06:56:55 -0700
From:Christopher Dobrian <dobrian@UCI.EDU>
Subject: pitch bend vs. frequency bend

Sven Erga <sven.erga@NOTAM.UIO.NO> wrote:

>The ftom object is good for the semi-tones, but I would also like to derive
>pitchbend values, to get things just right. I am going to have different
>samples assigned to each semi-tone in correct pitch,
>so what the patch should do is to decide which sample should play back with
>a certain amount of pitchbend to it. My sampler is capable of setting the
>low/hi pitchbend in the range of +/- 24 semitones. Any ideas anyone?

The ftom and mtof objects receive and output float. The integer part of the
output of ftom can be used as the key number, and the fractional part can
be used to derive the proper pitch bend (dependent on the current pitchbend
range setting of the device to which you are sending MIDI).


To get the fractional part of a float, just subtract the truncated int
version from the original float with a floating-point - object:
float
/ \
/\
/int
//
//
- 0.0

Then map this fractional part into the range of upward pitch bends you
want. (For example, if the pitchbend range of your device is set to +/- 1
semitone, you can use the whole range from 64 to 127, so just multiply it
by 63. and add 64 and convert back to int.)

--Chris

----------
Christopher Dobrian / Department of Music / University of California, Irvine
Phone: (949) 824-7288 / Fax: (949) 824-4914 / http://www.arts.uci.edu/dobrian

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

Date:Thu, 14 Oct 1999 09:02:28 -0700
From:"|K<" <kent@SHOKO.CALARTS.EDU>
Subject: Re: MAX Digest - 12 Oct 1999 to 13 Oct 1999 (#1999-297)

>If anyone has any thoughts on how to cause a max object to output when
>called from within a non-max interrupt, I would appreciate the input.

send an AEvent to your object from your non=max interrupt. check out
the AEBang example code on the sdk. max will reliably recieve AEvents but
not send them. this can sometimes be like touching your nose with your
elbow...

|K<
kent@music.calarts.edu

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

Date:Thu, 14 Oct 1999 12:02:57 EDT
From:JohnBrit@AOL.COM
Subject: Re: sxformat

In a message dated 10/13/99 20:02:07, you wrote:
Jeff Rona said in sxformat at 99/10/11Mon 20:57.
>
>> The only way I got it to work was to do it as an expression like this:
>>
>> sxformat 240 00 32 51 01 16 113 64 17 / is $i1 / 247
>>
>>
>> putting it between slashes. According to the help file and the docs, this
>> should not be necessary. Anyone else find this problem?


sxformat only ever works with the backslashes to my knowledge.
I find it easier to use a pack object. There's less to remember. Just bang
the first inlet everytime you change a term.
JW.

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

Date:Thu, 14 Oct 1999 12:33:59 -0400
From:Stephen Kay <sk@COMPUSERVE.COM>
Subject: Re: Fear and Loathing on Middlefield Ave


>>OK, I'll spill some beans for you. A friend of mine was one of the
>>developers of ZIPI, Lynx Crowe. Lynx was Don Buchla's programmer for
>>sixteen years. When Gibson bought ZETA systems and Oberheim, they
>>hired him to develop ZIPI and a compatible OS for the OBMX. Last time
>>I talked to him he was in the middle of an $8 million suit/counter
>>suit with Gibson over the IP rights.

>No one interested in this case should fail to read the following,
>written in 1997:

>http://www.flash.net/~sgoldin/summary.html

Fascinating (and terrifying) reading. It appears that all companies
and individuals would do well to run if Gibson comes walking through
the door.

Stephen Kay

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

Date:Thu, 14 Oct 1999 13:05:41 -0400
From:Louis Klepner <lou@EXPRESSIVEIMAGING.COM>
Subject: Capturing Still Images

Hello Fellow Max'ers-

Does anyone know of a way to capture still images and save them as
seperate files within Max? I've been thinking about using the videoin
object, but it appears to be geared more directly towards motion tracking.
I'm not sure that this object would be able to save images to disk. I've
also that about prophet, but again I'm not sure about the ability to save to
disk. Any advice would be greatly appreciated. Thanks.

-Louis Klepner

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

Date:Thu, 14 Oct 1999 23:14:47 +0200
From:Peter Castine <pcastine@PRZ.TU-BERLIN.DE>
Subject: Re: Opcode demise

On around Wed, 13 Oct 1999 13:44:14 -0400, David Crandall
<dcrand1@GL.UMBC.EDU>
said something like:

>>Just curious, since I don't know for sure... but wouldn't there be legal
>>grounds for IRCAM to just say, OK it was ours to license to Opcode, now
>>give it back?

True that IRCAM holds the copyright, but Gibson presumably inherits the
license contract. IRCAM is not likely to be pushed around, and I think
the French can be quite stubborn with lawsuits, but I wouldn't make any
predictions without knowing the contents of the IRCAM/Opcode license
agreement.

I think a core question is the jurisdiction under which the license
agreement was reached. If French jurisdiction, IRCAM is likely to have a
stronger hand in any dispute (sitting closer to the relevant courts,
knowing the law better, and perhaps having qualified legal staff on
retainer). If the agreement is under Californian (or other US)
jurisdiction... well, t'other way round, except I have absolutely no
doubt that Gibson has a few lawyers on the leash.


-- Oops, just read David's message. He's obviously aware of all this and


more. Hope the above doesn't turn out to be just more fuel for
speculation. I just wanted to point out that there are a couple of
imponderables. I will go back to preparing my little conference...
writing e-mails is just my way of trying to loosen up.


Cheers,

Peter

----------------- http://www.prz.tu-berlin.de/~pcastine/-----------------
Dr. Peter Castine| I am very pleased to announce that the
4-15 Music & Technology| 26th International Computer Music Conference
| will take place in Berlin in the year 2000.
| We look forward to seeing you here!

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

Date:Thu, 14 Oct 1999 20:41:47 -0400
From:Neal Farwell <nfarwell@FAS.HARVARD.EDU>
Subject: Re: Opcode

A friend pointed this out:

http://macintouch.com/opcodereorg.html

Neal

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

Date:Thu, 14 Oct 1999 15:59:07 -0500
From:Gregory Taylor <gtaylor@MSN.FULLFEED.COM>
Subject: Gibson announcement (if one can call it that)

This showed up on the Gibson website. Since it's rather pointed in terms
of what it doesn't say, I'm not sure it does very much other than remind
us of the days when we scrutinized the Chinese dailies to figure out who
was running the People's Republic. At least we know where all those Romanian
government writers went after Ceaucescu's somewhat messy demise; they
went to work writing press releases for Musical Instrument companies.

We should all keep each other posted in the event that some *really*
useful information comes outta Gibson. I'd personally put this one in
the "Ugandan Bus Crash" category, but your mileage may vary.

For the original, see:

http://www1.gibson.com/info/forums/gibson-custrel/messages1/11761.html

with regards,
Gregory

__begin uh...press release___
Opcode Announces Major Reorganization

Sweeping Changes Make Way for the Future

Mountain View, CA - Opcode Systems, Inc., a wholly owned subsidiary
of Gibson Guitar Corp., has announced a major restructuring of its
business. Opcode is reorganizing to strategically position itself
for future operations.

"Opcode attracted Gibson as an investor because of the promise that
it held for the future. Gibson and Opcode both realized that this
future would require development time and significant financial
support by Gibson," commented Gibson CEO Henry Juszkiewicz. To that
extent, Gibson has devoted time and money to Opcode because of its


belief in this promise.

As a result, Opcode has now been provided the resources to pursue
development opportunities to the point that it can focus its
operations toward specific goals, and is in the process of
reorganizing to pursue those efforts. However, these changes may
take several months. "Although change is always disruptive, it is
essential to progress," added Juszkiewicz.

Opcode apologizes for any concern that has resulted from these
efforts, and has every confidence that these changes, when
completed, promise a more rewarding future for the company and
its customers.

___end press. We now return you to your regularly scheduled prognostication___

_
knowledge is not enough/science is not enough/love is dreaming/this equation
Gregory Taylor/WORT-FM 89.9/ http://www.msn.fullfeed.com/~gtaylor

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

End of MAX Digest - 13 Oct 1999 to 14 Oct 1999 (#1999-298)
**********************************************************