The glitches are gone and the mixer works now as expected
It is now also an effect chain, effect one goes into effect two and so on.
I think in the glitch version everything was mixed together...
Very nice that this is possible with Ofelia (Pure Data / Lua / Open Frameworks/ GLSL).
I use 4 fbo´s now (one for the video player and one for each effect), just did not know how to use them right.
But somehow I found some of the old glitches quite fascinating.
I would be happy about feedback and suggestions (how to improve the patch)...
One question: Right now the functionality depends on the creation order of the Ofelia objects, because that also seems to be the draw order.
Can I create a constant draw order somehow?
Edit: I think the fbo's are also the solution for a video delay, i just need to find out how to grab for example every 5th frame into 10 fbo buffers. Then I can mix the fbo's with a GLSL file...

GLSL_Video_Mixer.zip

Apologies for cross-postings

Fifth Annual Web Audio Conference - 2nd Call for Submissions

https://www.ntnu.edu/wac2019

The fifth Web Audio Conference (WAC) will be held 4-6 December, 2019 at the Norwegian University of Science and Technology (NTNU) in Trondheim, Norway. WAC is an international conference dedicated to web audio technologies and applications. The conference addresses academic research, artistic research, development, design, evaluation and standards concerned with emerging audio-related web technologies such as Web Audio API, Web RTC, WebSockets and Javascript. The conference welcomes web developers, music technologists, computer musicians, application designers, industry engineers, R&D scientists, academic researchers, artists, students and people interested in the fields of web development, music technology, computer music, audio applications and web standards. The previous Web Audio Conferences were held in 2015 at IRCAM and Mozilla in Paris, in 2016 at Georgia Tech in Atlanta, in 2017 at the Centre for Digital Music, Queen Mary University of London in London, and in 2018 at TU Berlin in Berlin.

The internet has become much more than a simple storage and delivery network for audio files, as modern web browsers on desktop and mobile devices bring new user experiences and interaction opportunities. New and emerging web technologies and standards now allow applications to create and manipulate sound in real-time at near-native speeds, enabling the creation of a new generation of web-based applications that mimic the capabilities of desktop software while leveraging unique opportunities afforded by the web in areas such as social collaboration, user experience, cloud computing, and portability. The Web Audio Conference focuses on innovative work by artists, researchers, students, and engineers in industry and academia, highlighting new standards, tools, APIs, and practices as well as innovative web audio applications for musical performance, education, research, collaboration, and production, with an emphasis on bringing more diversity into audio.

Keynote Speakers

We are pleased to announce our two keynote speakers: Rebekah Wilson (independent researcher, technologist, composer, co-founder and technology director for Chicago’s Source Elements) and Norbert Schnell (professor of Music Design at the Digital Media Faculty at the Furtwangen University).
More info available at: https://www.ntnu.edu/wac2019/keynotes

Theme and Topics

The theme for the fifth edition of the Web Audio Conference is Diversity in Web Audio. We particularly encourage submissions focusing on inclusive computing, cultural computing, postcolonial computing, and collaborative and participatory interfaces across the web in the context of generation, production, distribution, consumption and delivery of audio material that especially promote diversity and inclusion.

Further areas of interest include:

• Web Audio API, Web MIDI, Web RTC and other existing or emerging web standards for audio and music.
• Development tools, practices, and strategies of web audio applications.
• Innovative audio-based web applications.
• Web-based music composition, production, delivery, and experience.
• Client-side audio engines and audio processing/rendering (real-time or non real-time).
• Cloud/HPC for music production and live performances.
• Audio data and metadata formats and network delivery.
• Server-side audio processing and client access.
• Frameworks for audio synthesis, processing, and transformation.
• Web-based audio visualization and/or sonification.
• Multimedia integration.
• Web-based live coding and collaborative environments for audio and music generation.
• Web standards and use of standards within audio-based web projects.
• Hardware and tangible interfaces and human-computer interaction in web applications.
• Codecs and standards for remote audio transmission.
• Any other innovative work related to web audio that does not fall into the above categories.

Submission Tracks

We welcome submissions in the following tracks: papers, talks, posters, demos, performances, and artworks. All submissions will be single-blind peer reviewed. The conference proceedings, which will include both papers (for papers and posters) and extended abstracts (for talks, demos, performances, and artworks), will be published open-access online with Creative Commons attribution, and with an ISSN number. A selection of the best papers, as determined by a specialized jury, will be offered the opportunity to publish an extended version at the Journal of Audio Engineering Society.

Papers: Submit a 4-6 page paper to be given as an oral presentation.

Talks: Submit a 1-2 page extended abstract to be given as an oral presentation.

Posters: Submit a 2-4 page paper to be presented at a poster session.

Demos: Submit a work to be presented at a hands-on demo session. Demo submissions should consist of a 1-2 page extended abstract including diagrams or images, and a complete list of technical requirements (including anything expected to be provided by the conference organizers).

Performances: Submit a performance making creative use of web-based audio applications. Performances can include elements such as audience device participation and collaboration, web-based interfaces, Web MIDI, WebSockets, and/or other imaginative approaches to web technology. Submissions must include a title, a 1-2 page description of the performance, links to audio/video/image documentation of the work, a complete list of technical requirements (including anything expected to be provided by conference organizers), and names and one-paragraph biographies of all performers.

Artworks: Submit a sonic web artwork or interactive application which makes significant use of web audio standards such as Web Audio API or Web MIDI in conjunction with other technologies such as HTML5 graphics, WebGL, and Virtual Reality frameworks. Works must be suitable for presentation on a computer kiosk with headphones. They will be featured at the conference venue throughout the conference and on the conference web site. Submissions must include a title, 1-2 page description of the work, a link to access the work, and names and one-paragraph biographies of the authors.

Tutorials: If you are interested in running a tutorial session at the conference, please contact the organizers directly.

Important Dates

March 26, 2019: Open call for submissions starts.

June 16, 2019: Submissions deadline.

September 2, 2019: Notification of acceptances and rejections.

September 15, 2019: Early-bird registration deadline.

October 6, 2019: Camera ready submission and presenter registration deadline.

December 4-6, 2019: The conference.

At least one author of each accepted submission must register for and attend the conference in order to present their work. A limited number of diversity tickets will be available.

Templates and Submission System

Templates and information about the submission system are available on the official conference website: https://www.ntnu.edu/wac2019

Best wishes,
The WAC 2019 Committee

Hi people,

Can't seem to get beyond a strange timing glitch with [vline~]. I'm using [metro] to bang a [float] that will send [vline~] the message [0, 1 $1( describing its throw and ramp time. For some reason, no matter what the [metro] time is, the [vline~] will only oscillate from 0-1-0 every 300ms. When viewed in an array, you can see the wave of the [vline~] ramp changes as you change the [metro] time and ramp time, but when measured via [timer], it comes out as 300ms.

I've had the same problem when using [phasor~] too. Here is an example of what I'm talking about: timerproblem.pd

For my example, I have made the [metro] time and the ramp time different, but in my actual patch, I am trying to send the ramp time through a [samphold] triggered by the [vline~] of the same ramp time akin to Maelstorm's timestretch patch:
http://www.pdpatchrepo.info/hurleur/timestretch-vline.mmb.pd

Anybody have any idea whether this is a glitch in my system or am I being dumb? I have the same problem in Pd-extended and Pd 0.49.1.

Macbook running OSX 10.6.8

Cheers

People, especially kids are always restricted from playing video games. It is said that games will improve the violence, affect our health and eyes. However, you may be surprised with what researchers found out. There are endless health benefits to us, especially kids.

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Paint your best picture with full of colours or mix the clothes of the princesses in dress-up games in your own way. It’s the way to build up the better creativity. If you want to help your kids boost their creativity, here’s top highly rated online art games for 7 to 12 year olds.

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Now, it’s time to hold the paintbrush, draw lines and dots, mix different colours in games instead of real life. Alternatively, show your ability in decorating the most stunning room ever. These tasks will be the best way to enhance coordination and dexterity. They are fun and rewarding enough to keep gamers, especially kids coming back again and again. Especially, when kids get hooked on these art activities in games over time. Their motor skills can be improved fast. What a deal!

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@macrogmittrei It's a massive cliché, but so very true.

Good topic this - and nice to hear it's a common phenomenon and not just me. A lot of paragraphs starting with "i" to follow

I think the complexity can arise in many other forms of (particularly electronic) music production and compositon. When there are too many choices, it leads one to become blinded to what it is their actual objective. It happens to me a fair amount, and I usually step away from the computer at that point and do something different, or switch to a bit of hardware.

I do find that being able to mentally 'step away' and reduce the objective down into simple terms is the only way for me to progress. Easier said than done sometimes.

I also grapple with the identity of whether am I a musician, or a computer scientist/programmer, because I first and foremost believe that I'm on the creative end, so it's hard to rationalise creativity with maths, logic and connecting boxes. But, then I realise that the two are not mutually exclusive and can and do go hand in hand - we are merely mastering our craft. Committing, or recording work is a useful habit - to bring into a more conventional environment.

To touch on the 'going for a walk' subject raised a while back. I find that it is one of the few activities that I can figure out ideas with clarity - it's my best way to form objectives and clear my mind. Thinking too much about the detail is a deal breaker at that point. Just the idea and try to imagine the end point, and steps to reproduce it should bubble up to the surface (write it down??).

On an end note, I think I read an interview with Mark Fell of SND who is almost exclusively a MAX user. What resonated with me is that he tries to distill his patches in simplest terms - like one slider or knob that alters everything about the timing, timbre and composition. I find that highly inspiring!

@nicnut I am not sure that setting the block-size high is really helping....... the advantage will be slight, but it is important that it is matched to your soundcard. The delay (buffer) will help with glitches, but increase the latency, so should be set just high enough to stop any glitches. The Delay (mSecs) is what you see referred to as buffer.... in samples..... elsewhere..... so for example at 44.1KHz Delay 100mSec is a buffer of 4410 samples rounded down to 2 blocks.....
You might have the Linux -rt (real-time for audio) switch available on the Pi which could help with glitches...... add -rt to Pd preferences "startup flags"
Good practice is to hide arrays in sub-patches, and reduce any screen drawing to an absolute minimum. All the gui stuff is being done between audio ticks, and screen drawing can take too long.
Video cards, Wi-Fi cards, interrupts (especially usb)....... everything else the computer is doing..... can cause glitches by taking too long to complete.
Check out the tuning tips found here........ https://support.native-instruments.com/hc/en-us/search?utf8=✓&query=windows7+tuning+tips for windows and osx but always relevant.
Check out chapter 2.4.2 onwards here as well........ http://puredata.info/docs/manuals/pd/x2.htm

You might need a powered hub for your usb midi. There might not be enough power for it as the Cpu load gets heavy.
David.

I'm happy to see this post come up again--it was a great conversation (and I miss @LandonPD).

My work has certainly moved forward in the past few years, and I now have a few musical pieces under my belt. However, I still find the same tendencies of getting sucked into the technical rather than the musical, and a lot of things written above still resonate. I estimate that I have spent between 10,000 and 15,000 hours building Context, and have come up with between 1 and 2 hours listenable music!

Part of the problem is that computer programming offers infinite possibilities at every turn. This is exhilarating, but also more than a bit confounding, as it can be very hard to know when to stop (or even where to start). I understand more and more why Brian Eno talks about limiting yourself arbitrarily--if you don't, you end up in some sort of mental stack-overflow.

Like David, I have also come to accept the fact that I am not actually a very musically creative person. I don't have my own musical ideas, and whenever I sit down to try to write something, I just draw a blank. The only times it has ever been successful are the times when I am working to a deadline: I have to produce a pieces of music for a performance, or else! Then what I have done is just to sit down and pick some random notes or numbers and alter them until they sound vaguely musical. Once I get something I'm happy with, I start attaching other ideas, then attacking new ideas to those, etc. The end result is always completely different to the type of music I had ever imagined composing--but I'm OK with that!

Incidentally, one of my unstated goals in designing Context was to create a tool which allowed me to "hack" the process of composition**. A DAW is very intimidating, and always kills my creativity from the onset. I wanted a small tool that could capture small ideas, and allow you to "connect" (literally) other ideas to it, a bit like a scrap-book. For me at least, this seems to be a successful approach. Whether anybody else can use it remains to be seen!

**John Lurie has referred to his music as "fake jazz". Sometimes I like to think of mine as "fake techno".

Fresh installed Windows 10 (needed it anyway, it's been like a year)

Now the GUI works properly. But oh boy the audio does not.

No audio without ASIO4All. When I select ASIO4All, I hearmy [osc~] but glitchy as hell. Changing the delay or the blocksize changes the perceived frequency of the glitchy sine wave. And PureData crashes, I can't close the window. The glitchy sine wave persists after having force quit Pd.

I don't use asio4all with other softwares. Here's a screenshot of the control panel of asio4all

Even if the problem is not yet solved I really appreciate your help @whale-av, thank you for your time !

@Sarabade Hello Sarabade......
If you google the wikepedia pages for all the different file formats for video and still images you will see that all of the files will have a header, which tells the operating system how to interpret the file (even the uncompressed formats like .bmp). If you glitch (corrupt) the header then the file cannot be read.

So you must not corrupt the data until you are a few (or a few thousand) bytes into the file (how many depends upon the file format...... jpg, tiff, bmp etc..)

I have found Antonio Roberts file on my computer and modded it to send out the ascii codes...... it might provide a start for your project........
JPG - binary - killer_mod.pd
Look into (right-click-open) one of the green abstraction boxes to see how you could write your new file..... and save it......... and importantly how you can avoid modifying the header.......

You cannot use [send glitch_ascii_code_list] as the header codes are already broken!!...... it is just for viewing in the terminal...........

If you try to write the actual ascii "symbols" to a message file then you will get the "closing brace" messages that you are seeing.......or worse! Pd will try to interpret some characters as "control" messages, and that will crash Pd. You will have to work with the numbers that represent the "characters" (ascii or binary) and not the "text" characters....a,b,c, etc......
David.

Call for artists - Update conference, Brighton

We’re seeking musicians, visual artists, performers and experimenters to bring performances, installations and multi-media art forms to the Update conference. Part of the Brighton Digital Festival, the conference is at Brighton Dome on September 5th 2011 from 10am to 6pm with an after party in Brighton Museum.

Update focuses on mobile design and user experience – putting the human touch at the centre of the digital world. Speakers include Jeremy Keith, Aral Balkan, Seb Lee-Delisle, and Brendan Dawes leading international figures in creative technology, web, user experience and mobile development.

There are half hour slots during the after party at Brighton Museum and five minute slots during the conference itself at the Brighton Dome for performers. Spaces in the Dome bar, foyer and museum are available for sculptures and installation work.

We’re looking for 3 performers and 3 artists to exhibit. If you’re interested in performing or exhibiting, we’re interested in talking to you; we particularly welcome artists who incorporate elements of mobile technology, human-centred design, or user experience in their work.

Unfortunately Update does not have funds to pay artists, but offers the chance to perform and exhibit at these great venues, gain exposure and network with an audience of up to 500 creative developers, influencers and early adopters of new technology. We can offer one ticket per artist or team member plus one guest, and a contribution towards expenses based on your estimates.

Please send proposals to Ollie Glass (artists@updateconf.com) by August 15th with a breakdown of your technical requirements, and feel free to email with any other questions.

http://updateconf.com/
@updateconf

http://www.brightondome.org/
http://is.gd/brighton_museum