Midi devices
I am trying to write a patch to control ableton live with a monome 40h.
I have input device 1 in PD as 'from monome serial io' and output device 1 as 'IAC 1' (which in turn is set as the midi input for live), which works fine for controlling live with the monome.
I have midi output for live set as 'IAC 2' and input device 2 in PD as 'IAC 2' and the output as 'monome serial io'. I can not get the LEDs on the monome to react to live.
My question is how do i select different devices within PD. I can only get input and output device number 1 to work together.
I seem to remember that in MAX/MSP you can add the relevent letter (a, b or c etc) to the 'notein' object box to select the device. Can this be done in PD, if so how?
I know live is definatly giving out controller messages as I have -midinotefeedback- turned on and if I change the order of devices around in the midi settings I can light LEDs on the monome by moving sliders etc within live.
What are people doing with pd
Hey Ceri! Tristan here.
I created a work for solo piano and live tape part generated by PD. It's called takeover and can be found on my site www.tjevs.com. It uses an interactive cue system, and it's kind of human against machine, and about working together. The full scores on my site too, as well as a live recording. I'll upload it into the PD community very soon, but currently I am exploring the use of midi and live audio alongside live instruments, as well as creating full works within PD.
I'd only been using PD for 2 months when I wrote my takeover patch, and now im getting into more and more intense patches, for example developing my own quad speaker setup for future live performances, which can be controlled by just hitting switches.
Keep PD'in you guys!
Tris.
L'oeuvre ouverte|PureData Convention '07 - Call for Proposals
[VERSION FRANÇAISE CI-DESSOUS]
* August 21st-26th, 2007, Montréal Canada
* Deadline for artworks/performances and workshops: February 28th 2007
* Deadline for papers: March 31st 2007
http://convention.puredata.org
The PureData Convention Steering Committee is now accepting proposals
for participation in L'oeuvre ouverte (the Open Work), the 2nd
International PureData Convention. L'oeuvre ouverte invites an open
relation between the artwork and the public as well as open attitudes
and practices in the fields of programming, artistic creation and
scientific research. It will bring together artists, developers and
writers who develop, use and reflect on PureData.
The Convention will acknowledge the broad range of artistic and
technical disciplines that make use of the software and will address
questions of openness and accessibility. It will provide a theoretical
and artistic context for the understanding of the aesthetics and
politics of Free / Open Source Software culture.
Selected proposals will reflect varied perspectives and outlooks on
the artistic possibilities of free software and hardware that emanate
from a wide-ranging community. These include, but are not restricted
to connections to art, science and society as well as demonstration of
innovative and intuitive interactions. We encourage a wide range of
submissions from all levels of proficiency with the software as well
as from emergent and diverse PureData communities. Submissions will be
evaluated by peer review committees.
Proposals are sought in the following categories:
Artwork/Performances:
The selected artworks should make use of PureData. All forms of audio
and visual art including real-time interactive works, improvisations
with technology, instrumental/electroacoustic mixes, sound
installations, performances, network art, robotics, software art and
interdisciplinary work are welcome.
Papers and posters:
We are accepting papers that offer varying perspectives on technical,
social, cultural as well as art theory/historical aspects of PureData
or the aesthetics and politics of Free / Open Source Software (FOSS)
culture.
Demos:
Externals, Performance patches, Packages of abstractions, sensors and
physical computing interfaces, etc.
Workshops:
Beginner to advanced level hands-on workshops, installation
help, DIY etc.
::applicants are invited to submit in multiple categories::
please read the application guidelines:
http://convention.puredata.org/guidelines
||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
L'oeuvre ouverte|Congrès PureData 2007 - Appel de propositions
* Du 21 au 26 août 2007, Montréal, Canada
* Appel à participation -- Jusqu'au 28 février pour les projets
artistiques et les ateliers, le 31 mars pour les exposés.
http://convention.puredata.org/convention07-fr
Le comité organisateur du Congrès de PureData accepte maintenant les
propositions en vue de participer à L'oeuvre ouverte, 2e Congrès
international de PureData. L'oeuvre ouverte propose une relation
d'ouverture entre l'oeuvre d'art et le public et encourage les
attitudes et les pratiques ouvertes dans les domaines de la
programmation, de la création artistique et de la recherché
scientifique. Le congrès réunira artistes, développeurs et théoriciens
qui sont les créateurs de PureData, qui exploitent le logiciel ou en
font l'objet de leur réflexion.
Le Congrès témoignera de toute la gamme des disciplines artistiques et
techniques qui exploitent le logiciel libre et s'intéressera aux
questions d'ouverture et d'accessibilité. Il servira de cadre
théorique et artistique pour la compréhension des aspects esthétiques
et politiques propres à la culture du logiciel libre.
Les propositions retenues refléteront les nombreuses perspectives que
le logiciel libre et ses applications, émanant d'une collectivité
diversifiée, offrent en matière de possibilités artistiques, qu'il
s'agisse, notamment, de jonctions établies entre l'art, la science et
la société ou de la présentation d'interactions innovatrices et
intuitives. Les propositions les plus diverses sont les bienvenues,
peu importe le degré de compétence de l'auteur à l'égard du logiciel.
L'invitation est lancée, entre autres, aux collectifs de PureData en
émergence. Les propositions seront évaluées par des comités de pairs.
Les propositions doivent se situer dans les catégories suivantes:
Oeuvres d'art/installations:
les œuvres de toute nature, produites à l'aide de PureData, soit toute
forme d'art audio et visuel, y compris les œuvres interactives en
temps réel, les improvisations technologiques, les pièces
instrumentales et électroacoustiques, les installations sonores, les
performances, l'art robotique et télématique et les œuvres
multidisciplinaires.
Exposés et affiche:
communications apportant diverses perspectives sur les aspects
techniques, sociaux, culturels, l'histoire de l'art de PureData, de
même que sur les aspects esthétiques et politiques de la culture du
logiciel libre.
Démonstrations:
périphériques, outils de performance, extras, senseurs et interfaces, etc.
Ateliers:
travaux pratiques de niveau débutant à avancé, aide aux
installations, activités manuelles, etc.
SVP lisez les lignes directrices:
http://convention.puredata.org/guidelines-fr
::Les intéressés sont invités à faire des propositions de nature multiple::
OpenLab 3 - Exhibition and Events (4th to 11th November 2006, London)
OPENLAB 3
Group Show, 4/11-11/11/2006, 1-7pm
Opening Event and Private View 4/11/2006, 4 -12 pm
Closing Event 11/11/2006, 4-12 pm
Auto-Italia South London Gallery
82-86 Queens Road
SE15 2QX Peckham, London
OpenLab is delighted to present OpenLab3, an group exhibition with an opening and closing event featuring musical performances by more than 20 artists and musicians of the OpenLab collective. OpenLab engages in the aesthetics and politics of Free Open Source Software Culture. Free Software Culture seeks to emphasise transparency of the creative process by making all stages of development available to others, enabling them to learn how the creation works and alter it for their own purposes. When this idea is applied to artistic practices, the boundaries between the artistic usage of software tools and their collaborative development become blurred. The workings of the artist's tools are exposed, and the artists are actively engaged in developing media technologies. They can modify them to suit their goals, rather than creating works by using existing tools that impose "their way of doing things" on the artwork.
This group exhibition brings together interactive installations, sonic interventions, video works and animations which explore the audio-visual code of this network culture: computers start to paint pictures on their own, expose their internal circuits and "commit suicide"; birds will sing and fly around in multiple realities, the skylines of two cosmopolitan cities merge, language, meaning and time burst into fragments and recombine. The range of the combined works points to the strength of Open Source Culture -- its increasing versatility as artistic playground essential to contemporary debates and its continued importance not just in the invention of new media realities but also in tackling themes of "real" time and space.
The two music events feature sound and multimedia performances of artists who use and develop open-source tools such as PD, Supercollider, Processing and Fluxus. They will perform prepared sets and code their music live in various programing languages. Musicians will also experiment with a set of live instrument swapping. By exchanging PD-Patches, they will challenge each other in an uncharted space of sonic manipulation. The performances will span from excursions into the symphonica, experimental noise and soundscapes to electronica and beat-oriented minimal techno-sets.
PARTICIPATING ARTISTS: Rob Canning, Chun Lee, Claude Heiland-Allen, Carl Forsell, Sabine Gottfried, Karsten Gebbert, Paul Webb, Rob Munro, Chiharu Kaido, Evan Raskob, U-Sun, Ryan Jordan, Oli Laruelle, Robert Atwood, Luke Jordan, Rene, Monica Subrotova & Daniel Kordik, Michael Woelkner, Andy Farnell, Martin Aaserud, Ryan Jordan & Rachel Horne, Dave Griffith & Alex McLean
For more information please visit :
http://www.fexia.com/openlab
http://openlab.pawfal.org
http://www.midnightbluecollective.com
\[resolved\] Still Bang
I'm not sure I read you correctly
but I think this is what you want
It follows the middle inlet but if
that stops changing then it follows
the leftmost inlet after a delay set
at the rightmost inlet.
#N canvas 477 470 533 436 10;
#X floatatom 24 207 5 0 0 0 - - -;
#N canvas 0 0 482 472 autowobble 0;
#X obj 117 185 average;
#X obj 117 157 delta;
#X obj 117 89 f;
#X obj 110 344 line;
#X msg 110 320 \$1 100;
#X obj 156 237 == 0;
#X obj 165 45 inlet;
#X obj 37 45 inlet;
#X text 20 26 lfo krate;
#X obj 110 368 outlet;
#X obj 140 273 *;
#X obj 117 237 != 0;
#X obj 76 70 t b;
#X obj 80 268 *;
#X obj 110 296 +;
#X obj 117 132 line;
#X obj 117 110 pack 1 200;
#X obj 291 49 inlet;
#X text 144 23 manual fader;
#X text 285 27 idle time;
#X connect 0 0 5 0;
#X connect 0 0 11 0;
#X connect 1 0 0 0;
#X connect 2 0 16 0;
#X connect 3 0 9 0;
#X connect 4 0 3 0;
#X connect 5 0 10 1;
#X connect 6 0 2 1;
#X connect 6 0 13 1;
#X connect 7 0 10 0;
#X connect 7 0 12 0;
#X connect 10 0 14 1;
#X connect 11 0 13 0;
#X connect 12 0 2 0;
#X connect 13 0 14 0;
#X connect 14 0 4 0;
#X connect 15 0 1 0;
#X connect 16 0 15 0;
#X connect 17 0 16 1;
#X restore 24 179 pd autowobble;
#X obj 24 70 vsl 12 64 1 200 0 0 empty empty lfo-period(ms) 0 -8 0
8 -225280 -1 -1 5400 1;
#N canvas 0 0 450 300 ktrilfo 0;
#X obj 186 93 del 10;
#X obj 144 93 t b f;
#X obj 186 135 f 0;
#X obj 220 136 +;
#X msg 235 104 1;
#X msg 276 104 -1;
#X obj 187 175 >= 127;
#X obj 136 177 <= 0;
#X obj 136 202 sel 1;
#X obj 187 203 sel 1;
#X obj 223 71 max 1;
#X obj 223 47 inlet;
#X text 204 27 sweep rate(ms);
#X obj 225 235 outlet;
#X text 226 262 bang per cycle;
#X text 80 259 int val;
#X obj 104 235 outlet;
#X obj 307 70 loadbang;
#X obj 321 44 inlet;
#X text 324 26 phase reset/start;
#X connect 0 0 2 0;
#X connect 1 0 0 0;
#X connect 2 0 1 0;
#X connect 2 0 3 0;
#X connect 2 0 6 0;
#X connect 2 0 7 0;
#X connect 2 0 16 0;
#X connect 3 0 2 1;
#X connect 4 0 3 1;
#X connect 5 0 3 1;
#X connect 6 0 9 0;
#X connect 7 0 8 0;
#X connect 8 0 4 0;
#X connect 8 0 13 0;
#X connect 9 0 5 0;
#X connect 10 0 0 1;
#X connect 11 0 10 0;
#X connect 17 0 2 0;
#X connect 18 0 2 0;
#X restore 24 143 pd ktrilfo;
#X obj 110 101 vsl 12 64 1 127 0 0 empty empty manual 0 -8 0 8 -225271
-1 -1 1500 1;
#X obj 159 101 vsl 12 64 1 1000 0 0 empty empty hold 0 -8 0 8 -261681
-1 -1 3700 1;
#X text 177 138 hold is NOT milliseconds;
#X text 178 172 internal func but is roughly 1/2*square of hold;
#X text 179 155 It's actually complicated because of aymptotic;
#X text 31 254 The value may jump quickly when the lfo resumes \, need
to add a crossing detector for smooth transition;
#X text 21 10 Autowobble - output follows the k-rate LFO input UNLESS
the manual fader is moved \, but after a delay set by HOLD the output
will resume tracking the LFO;
#X text 358 273 ajf2005;
#X connect 1 0 0 0;
#X connect 2 0 3 0;
#X connect 3 0 1 0;
#X connect 4 0 1 1;
#X connect 5 0 1 2;
Call for proposals
some of you may be interested in this. it would be great to get some Pd papers or performances or lectures at this conference at my school coming up next july. here's the info:
> CALL FOR PROPOSALS
>
>
>
> SECOND INTERNATIONAL CONFERENCE FOR DIGITAL
> TECHNOLOGIES AND PERFORMANCE
> ARTS (DTPA 2005)
>
> SCHOOL OF INTERMEDIA AND PERFORMANCE ARTS
>
> DONCASTER COLLEGE
>
> DONCASTER, ENGLAND
>
>
>
> JULY 5-6, 2005
>
>
>
> This interdisciplinary conference provides a forum
> for those in the
> fields of theatre, dance, music and performance
> (researchers,
> practitioners, educators, systems developers) for a
> dynamic and exciting
> exchange of approaches surrounding the use of new
> media technologies in
> live performance.
>
>
>
> Proposals are invited for papers, performances,
> presentations, workshops
> and poster presentations on the following topics:
>
>
>
> * Live performance and interactive systems
> * Motion capture/motion-sensing technologies
> * Performance pedagogy, education and new media
> * HCI and live performance
> * Web-based performance and virtual performance
> spaces
> * Realtime music control
> * Gesture and interactive multimedia
> * Interdisciplinarity and new media
> * Performance software/hardware development
>
>
>
> All proposals should be approximately 200-300 words.
> Proposals for
> performances and installations should be submitted
> with an outline, CD
> or DVD support, as well as full details of technical
> and spatial
> requirements. Workshop proposals should also
> include information on
> technical and spatial requirements.
>
>
>
> All expressions of interest should be forwarded by
> January 5, 2005 to:
>
>
>
> Dr. Dave Collins
>
> Reader
>
> School of Intermedia and Performance Arts
>
> Doncaster College
>
> High Melton
>
> Doncaster
>
> DN5 7SZ
>
>
>
> Email: david.collins@don.ac.uk
>
>
>
> Notification of acceptance will be sent out by the
> end of March 2005.
>
>
>
> Performing arts companies and independent artists
> may have conference
> fees waived but will be responsible for travel and
> accommodation fees.
>
>
>
> Presenters may also wish to submit written papers
> for publication prior
> to or following the conference to the new
> International Journal of
> Digital Media and Performance Arts.
> [url=http://www.intellectbooks.com/journals/padm.htm
]http://www.intellectbooks.com/journals/padm.htm
>
>
>
> Full registration information will be available
> shortly on the School
> for Intermedia and Performance Arts web-site at
> [url=http://www.don.ac.uk/ipa
]http://www.don.ac.uk/ipa
if you have questions you can contact me and i might be able to help, or else just use the contact info above.
--zac
Sukebe waraii
I like that track, kept me interested and made me smile, and when it finished I wanted to listen to it again - I've listened to it about 5 times this evening. Good work!
I've been trying to make similar sounds. I'm working on doing more live stuff with Pd, it's mighty fun, I can spend hours twiddling with midi knobs making freaky noises. I think I spend too much time fiddling with the knobs and not enough time enhancing my patches - I've not got much to show for the last six months of Pd-ing.
At first I was mapping each midi knob to a single control of the patch, but poorly thought out - in one patch I have 4 breakbeats, and I had 4 knobs mapped to the bpm control of each beat - "bpm 1", "bpm 2", "bpm 3", "bpm 4" - and it was a nightmare trying to get anything to sound good with it. Now I am trying to have more useful controls - "master bpm", "second pair/first pair bpm ratio", "pair 1 bpm spread", "pair 2 bpm spread". Still having 4 knobs to control the 4 bpms, but in a more musically useful way. Like a mathematical change of basis or change of coordinate system.
Another way I am trying to make live performance easier is using algorithmic processes - instead of controlling every beat I control aspects of a process that generates the beats - instead of being the drummer and the bassist and whatever else I am more of a conductor or director, controlling "jitteryness" or "density" or whatever. These processes can have a random part, so the live performance takes on a new element of reacting to the unpredictable output.
Technical config
could you tell which os ,card, platforme , distro you use ?
i use pd ,37 test10 under win2000 sp4 (but it perform perfectly on xp sp1 too on my computer)
i use zexylib,maxlib,iemlib.
i use mmio mode for best latency (i know it's sound really strange but it perform Much better than asio on my gig.)
my card is a rme hdsp9632 with a buffersize of 1,5 (1,415...) ms. (64 block)
whatever value i set on audiobuf or block it stay at 1,5...
i ve made a patch using pd as an effect (decoding live a LtRt movie mix to LCRS (surround))
it was performing quite good in sync with the screen. (indeed one video image is 40ms lenth so with a 1,5ms latency that's ok)
but i heard about the jack low latency driver . id like to know opinion from linux users....
anyway , i should already been on linux but since ive bought that new card , i don't manage to have sound with it , before it was ok with my motherboard chipset AC97 (working huh ) and as far as i remember , it had never crashed under linux against 2 or three times the day with windows, and the cpu consumption was really lower than under zindaube. something like 25 to 40 % less (using windows performance and top on linux .) i understand that this difference come from the graphical management of tck .