Subject: MAX Digest - 14 Oct 1999 to 15 Oct 1999 (#1999-299)
Date: Sat, 16 Oct 1999 00:00:16 -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 9 messages totalling 488 lines in this issue.

Topics of the day:

  1. thispatcher
  2. Fear and Loathing on Middlefield Ave
  3. Pitch Shifting
  4. Midisport 2X2 ==10% MSP performance hit
  5. VII Brazilian Symposium on Computer Music
  6. Opcode speculation
  7. setting up program changes
  8. MSP Freeze on 400MHz G3 PowerBooks
  9. Opcode & Zerocrossing

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

Date:Fri, 15 Oct 1999 15:31:51 +1000
From:Garth Paine <garth@ACTIVATEDSPACE.COM.AU>
Subject: Re: thispatcher

Hi all,

I have been looking through the 'thispatcher' documentation to find a
way of getting the patcher name to use as a variable so I can use
multiple copies of the patcher and just change its name, and all the
send and recieve objects in that patcher will take the argument that
is the patchers name, but can't seem to work it out. There is of
course the function for changing the patcher name, but not getting
the existing name.


Please point me in the right direction.

Thanks
Cheers,

Garth

Check out some of the tracks off my CD "Escape Velocity"
http://www.activatedspace.com.au
,.,.,.,.,.,.,.,.,.,.,.,.,.,.,.,.,.,.,.
Activated Space
. Composer, Sound Designer, Installation Artist
.. Interactives Designer, Exhibition Consultant
........ph. 61 3 95720133
garth@activatedspace.com.au

.,.,.,.,.,.,.,.,.,.,.,.,.,.,.,.,.,.,.,.,.,.,.,.

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

Date:Fri, 15 Oct 1999 01:40:00 -0400
From:Ed Hartley <e-hartiey@WORLDNET.ATT.NET>
Subject: Re: Fear and Loathing on Middlefield Ave

I don't know much about their business practices, but I'd just like to interject that Gibson
does make a damn fine guitar. My Les Paul is almost as old as I am and it still sounds pretty
good with its origional software. It boots quickly, never crashes...


OK, vain attempt at humor is over. Back to the serious stuff.

Ed

Stephen Kay <sk@COMPUSERVE.COM> wrote:

>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:Fri, 15 Oct 1999 03:35:05 +0000
From:Jeff Mann <jefman@UTCC.UTORONTO.CA>
Subject: Re: Pitch Shifting

Two summers ago, Les Stuck wrote:
> All these windowed approaches have one big problem: the transients.
> For percussive sounds (like speech), the best technique is transient-windowed,
> like Studio Vision's time-compression (a similar technique can be used
> if you have Recycle and a sampler). [and also Sonic Foundry's "Acid" I believe
-JM]
> In this technique, the percussive sounds
> are cut just before the attack, and these cuts determine the chunks which can
> be played back. Thus the windowing is sensitive to the content of the sample.
>
> As far as I know, this type of time stretching has not been implemented
> in either ISPW-Max/FTS/JMAX or MSP. Some bright soul on the list wanna
> hack an MSP external?
>
> Les

Has anyone done anything like this since then? Any advice on how to do a
good job of the transient mapping? Surely with the popularity of ReCycle
and Acid, there's some clone code floating around out there... or is it
just a simple application of thresh~?

<Jeff

P.S. is Les Stuck still on the Max list? I was looking for his example at
http://zeep.com/les/web/digi.htmlbut it's gone...
--
Jeff Mann - Information Consumer ___O___O__= -- >
"Tapping one's toe in time with a piece of music while sitting on
a modern carpet can induce +/-10 volt potential change on a can of
Spam five feet away."- The Amateur Scientists' Bulletin

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

Date:Fri, 15 Oct 1999 14:58:29 +0200
From:Zack Settel <zack@ZEEP.COM>
Subject: Re: Midisport 2X2 ==10% MSP performance hit

It seems that when my Midisport 2X2 USB midiinterface is connected to my G3
400mhz Powerbook,it costs MSP (according to its "DSP status" window)
around 10% of the CPU. To get back the 10%, I unplug the interface and
during the following seconds, the cycles return. Plug it back in,and they
dissappear again--you can do this a few times until MSP crashes.

I tried configuring OMS with one port only,and various combinations of
MAX/MSP ctl. config. parameters, such as overdrive, scheduler in audio
interrupt etc.,to no avail.

Anyone else seen this? Any suggestions (outside of living with one less


reverb)?

Zack


My config:
System 8.6
OMS 2.3.7
MIDISport OMS Driver 1.0.6
MIDISportDriverv1.0.0
MIDISportLoaderv1.0.0
USBMIDISportShim 0.2.8


zack@zeep.com
phone: (1) 514 842 3047
fax:(1) 514 842 2902

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

Date:Fri, 15 Oct 1999 16:19:37 +0200
From:Mikhail Malt <Mikhail.Malt@IRCAM.FR>
Subject: VII Brazilian Symposium on Computer Music

>********VII Brazilian Symposium on Computer Music********
>********************
17--20 July 2000********************
>***********************
Brazil***********************
>
>
PRELIMINARY CALL FOR
>
PAPERS, COMPOSITIONS, TUTORIALS AND
>
PRODUCT DEMONSTRATIONS
>
>The Sixth Brazilian Symposium on Computer Music saw researchers
>from various countries discussing their experiences in a friendly and
>informal atmosphere. The Seventh Brazilian Symposium, chaired by
>Bernadete Zagonel (bzagonel@rocketmail.com), will be held in
>Curitiba, the capital of the Parana state, from 17 to 20 July 2000. The
>Brazilian Symposia are organized by NUCOM, the computer music
>branch of the Brazilian Computing Society and pride themselves on
>their intercultural nature and selection policies.
>
>Roger Dannenberg (USA) and Leigh Landy (UK) will deliver the
>keynote speeches. There will be paper presentations, concerts,
>tutorials and product demonstrations. Researchers, composers,
>educators, manufactures and all concerned with the interplay between
>music and technology are invited to submit papers, compositions,
>tutorial projects and product demonstration proposals.
>
>*important dates*
>
>--- 25 February 2000 --- closing date for postage of compositions
>--- 3 March 2000 --- closing date for postage of papers, tutorials
>and product demonstration proposals
>--- 31 March 2000 --- notification of acceptance of papers
>--- 21 April 2000 --- notification of acceptance of compositions,
>tutorials and product demonstration proposals
>--- 21 April 2000 --- closing date for camera-ready papers
>
>*submission of papers*
>
>Topics of interest include, but are not limited to:
>
>Acoustics, Diffusion, Sonorization
>Artificial Life and Evolutionary Music Systems
>Audio Hardware Design


>Audio Signal Processing
>Computer Aided Musical Education
>Computer Aided Music Analysis
>Computer-Aided Musicology
>Internet Applications
>Multimedia Integration
>Music Data Structures and Representation
>Music Notation, Printing and Optical Recognition
>The Musicologies of Digital Musics
>Psychoacoustics and Cognitive Modelling
>Real-time Interactive Systems
>Sound Synthesis
>Systems and Languages for Composition
>
>This year we are giving particular emphasis to the musicologies
>(historical, systematic, ethno, critical etc) of digital musics
>(computer
>music, electroacoustic music, soundscape, techno etc.). Papers
>reporting ongoing or concluded research should be submitted in a
>preliminary version of no more than 8 pages (Times Roman 12 and
>1.5 interline space). Please state clearly in the front page which of
>the
>above headings, if any, best describes your subject matter. Preliminary
>submissions in Portuguese will be accepted on the understanding
>that their authors will undertake to present the final version in
>English. You are kindly requested not to reveal your identity in
>your paper (avoid self reference etc.). Please send MS Word 97
>compatible files as e.-mail attachments to the Chairs, Aluizio
>Arcela *and* Carlos Palombini: arcela@cic.unb.br and
>palombini@usa.net.
>
>By agreement with the Editors, a selection of musicological
>papers will be published online in the *Electronic Musicological
>Review* and the *Critical Musicology Journal*, as appropriate.
>Since online publication is likely in all areas, authors are encouraged
>to take advantage of hypertext facilities.
>
>*committee of papers *
>
>Aluizio Arcela, *Chair*, University of Brasilia, Brazil
>Daniel Arfib, CNRS-LMA, Marseille, France
>Peter Beyls, St Lukas Art School, Belgium
>Georgina Born, Emmanuel College, University of Cambridge, UK
>Moisei Boroda, German Association of Musicians, Germany
>Marcio Brandao, University of Edinburgh, UK
>Antonio Camurri, University of Genoa, Italy
>Furio Damiani, State University of Campinas, Brazil
>Roger Dannenberg, Carnegie Mellon University, USA
>Myrian Desainte-Catherine, University of Bordeaux, France
>Simon Emmerson, City University, UK
>Carole Gubernikoff, University of Rio de Janeiro, Brazil
>Fabio Kon, University of Illinois at Urbana-Champaign, USA
>Leigh Landy, De Montfort University, UK
>Victor Lazzarini, National University of Ireland, Eire
>Peter Manning, University of Durham, UK
>Jonatas Manzolli, State University of Campinas, Brazil
>Eduardo Miranda, Lamesm, Federal University of Santa Maria, Brazil,
>and Sony CSL-Paris, France
>Axel Mulder, Infusion Systems Ltd., Canada
>Richard Orton, University of York, UK
>Carlos Palombini, *Chair*, Federal University of Pernambuco, Brazil
>Geber Ramalho, Federal University of Pernambuco, Brazil
>Alistair Riddell, Queensland University of Technology, Australia
>Steve Sweeney-Turner, University of Leeds, UK
>Rick Taube, University of Illinois at Urbana-Champaign, USA
>Petri Toiviainen, University of Jyvaskyla, Finland
>Barry Truax, Simon Fraser University, Canada


>Mirjana Veselinovic-Hofman, Belgrade University of Arts, Yugoslavia
>Marcelo M. Wanderley, IRCAM --- Centre Georges Pompidou, France
>Luke Windsor, University of Leeds, UK
>
>*submission of compositions*
>
>The Seventh Brazilian Symposium on Computer Music will seek to
>highlight the variety of musical styles that come under the computer
>music heading. Submissions are invited from composers working in all
>genres within the field. Formats are as follows:
>
>[1] music for tape, 2 to 8 channels;
>
>[2] music for tape or live-electronics with vocal and/or instrumental
>parts;
>
>[3] algorithmic composition, vocal and/or instrumental.
>
>For [1] send DAT or CD.
>
>For [2] send DAT or CD recording of the electronic part plus full score
>and, if at all possible, a recording of the full piece.
>
>For [3] send DAT or CD plus full score.
>
>Submission must include:
>
>--- one copy of a brief programme note (10 to 15 lines in English,
>Portuguese or Spanish);
>
>--- one copy of a short biography (10 to 15 lines in English,
>Portuguese or Spanish);
>
>--- three copies of all music materials (CDs, DATs and scores).
>
>Please post submissions by air mail to the Chair, Fernando Iazzetta, to
>whom enquiries may be addressed: iazzetta@usp.br.
>
>Fernando Iazzetta
>USP - ECA - Dpto. Musica
>Rua da Antiga Reitoria, S/N
>05508-900 - Sao Paulo - SP
>Brazil
>
>Please, note:
>
>--- pieces not exceeding 12 minutes are preferred;
>
>--- compositions must have been created no earlier than in 1997;
>
>--- although we cannot guarantee execution of pieces that involve
>vocal or instrumental forces or that bring extra costs to the event,
>we shall do our best to work out a solution in consultation with the
>authors;
>
>--- pieces for more than 2 channels require that the submission of
>a stereo DAT or CD be followed, if selected, by the multi-track tape.
>
>--- submissions will be deposited in the symposia archive and will
>not be returned;
>
>--- up to 2 different works may be submitted by composer.
>
>*committee of compositions*:
>
>Miguel Azguime, Portugal
>Francoise Barriere, France


>Rodolfo Caesar, Brazil
>Carlos Cerana, Argentina
>Paulo Chagas, Brazil/Germany
>Silvio Ferraz, Brazil
>Denise Garcia, Brazil
>Fernando Iazzetta, *Chair*, Brazil
>Paul Lansky, USA
>Emmanuelle Loubet, Japan/Germany
>Wilson Sukorski, Brazil
>
>*tutorials and product demonstrations*
>
>Please contact Conrado Silva: conrado@unb.br
>
>Conrado Silva
>Universidade de Brasilia
>Colina Bl. E Ap. 602
>70910-900 Brasilia DF
>BRASIL
>tel. +55 61 349-8978
>fax
+55 61 349-0757
>
>For updated information please visit the Symposium website
>
>http://www.eca.usp.br/nucleos/lami/nucom/sbcm2000.html
>
>PLEASE FORWARD AT YOUR DISCRETION
>

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

Date:Fri, 15 Oct 1999 12:24:15 -0400
From:Neal Farwell <nfarwell@FAS.HARVARD.EDU>
Subject: Re: Opcode speculation

Since my contribution to this speculation appeared in the digest just after
David Z.'s comments, I'll close my thread with an apology to David - it
should have been obvious, if I'd really stopped to think, that you'd be way
ahead...

All best,
Neal

=========================================
Neal Farwell

Visiting Fellow in Composition

Music Department
Harvard University
Cambridge MA 02138

(617) 591-9478

nfarwell@fas.harvard.edu

http://www.fas.harvard.edu/~nfarwell
=========================================

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

Date:Fri, 15 Oct 1999 06:26:28 -0400
From:Michael Carlito <mlito@ALBANY.NET>
Subject: setting up program changes

I want to create a set-up using max so that everytime a person
triggers a sensor it will either make a program change or increment


or decrement to a specific midi note. Can anyone help me on this
one.

thank you
mike
Chance favors the prepared mind

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

Date:Fri, 15 Oct 1999 13:29:31 -0400
From:"Dr. Richard Boulanger" <radiobaton@EARTHLINK.NET>
Subject: MSP Freeze on 400MHz G3 PowerBooks

I can't seem to get my 400MHz bronze G3 PowerBook to run MSP.

I have de-installed/deleted/reinstalled.

Any advice/assistance would be greatly appreciated?

Of course, I can get it to run Max and I can get it to run MaxPlayMSP.

richard boulanger

_____________________________________________________________
Dr. Richard Boulanger
Professor - Music Synthesis Department
Berklee College of Music
1140 Boylston Street- Boston, MA02215-3693
Office Phone: (617) 747-2485Office Fax: (617) 536-2257
Email: radiobaton@earthlink.netORrboulanger@berklee.edu
_____________________________________________________________

Personal Webpage: http://home.earthlink.net/~radiobaton/
Everything Csound: http://www.csound.org
_____________________________________________________________

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

Date:Fri, 15 Oct 1999 11:13:53 -0700
From:Simon Gatrall <gatrall@SLIP.NET>
Subject: Opcode & Zerocrossing

I have been trying to understand what's going on with Opcode as I'm sure
many others of you have. By now most of you have seen Gibson's (non-)
statement about the subject
(http://www1.gibson.com/info/forums/gibson-custrel/messages1/11761.html) .
One of the interesting pieces of the puzzle is the relationship of a
spin-off of Opcode and Gibson called Zerocrossing. In January, Gibson and
Opcode released this press release:
http://brain.gibson.com/whatsnew/pressrelease/1999/jan29a.html

In trying to explain the situation at Opcode, today's Macintouch
(http://www.macintouch.com) makes Zerocrossing sound like a real company,
however, they are actually more dead-in-the-water than Opcode. Soon after
that press release was issued the Zerocrossing web site had a one page "we
exist" site up. I checked back a few times after that and never saw
anything else. In the past month or so, it hasn't worked at all. Calls to
the number on the press release don't get past the voice mail front end,
and information doesn't know of any number for "zerocrossing" in Mountain
View.

I then called Paul deBenedictis (one of the main people at what was
Zerocrossing) at home. According to him, Zerocrossing was part of the
reason that Gibson was able to announce GMICS (http://www.gmics.org/).
However that relationship didn't work out and was responsible for the
"reorg" of Opcode. Paul wouldn't say too much more than what was in the
short statement from Gibson, but he did say that the reorg could take 3


months or 11 months. He said that it will be hard if not impossible to do
any updates to Vision without Dave Oppenheim's support, but it isn't clear
if Dave will do that or not. As far as hardware goes, the MIDIport 128X
may see the light of day through DigiDesign. Apparently it was announced
at AES that there is a licencing deal between Opcode and Digi so that Digi
will release it with their own faceplate and branding.

One positive thing is that he thought it was likely that Cycling '74 will
end up taking care of Opcode's Max.

Perhaps the most telling thing is that Paul has been interviewing at other
companies. My guess is that unless Gibson acts fast, anyone that might
possibly want to work for a reorged Opcode again will have moved on.

I have been an Opcode customer for almost 7 years and I wish that I could
support whatever happens in the future, but unless Gibson says something
more substantial soon, I will be seriously considering other software and
hardware vendors.


Simon Gatrall
gatrall@slip.net

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

End of MAX Digest - 14 Oct 1999 to 15 Oct 1999 (#1999-299)
**********************************************************