overdriving the output just makes square distortion, not clicks, as far as i know.

the pops are an actual glitch caused by something malfunctioning, and shouldn't be there.

my advice would be

1. try running pd through your computer's inbuilt soundcard. if it stops glitching, then the problem is with your other soundcard's settings...

2. try a different version of pd...get pd-extended if you don't already have it:

http://sourceforge.net/project/showfiles.php?group_id=55736&package_id=76013

see if you still have the problem.

3. go to preferences->audio settings->delay and make it a little bit higher and see if that helps.

4. if all else fails, i have read before of people fixing such a glitch by using JACK

http://jackaudio.org/

Hi guys!
I've been running the "old" version of Pd-extended (38.something) on an Intel Macbook for about two months now and recently switched to the new version (39.3). But as you may have guessed from the title, there's a huge problem now I didn't have with the older version: I'm getting glitches in my audio output, ranging from clicks to longer "buzzy" sounds, whenever I set my Creative Xmod external soundcard as the output device, the Macbook's internal output works normal.
And no, it's not a CPU problem, since I was smart enough to download the Intel version of Pd-extended and I didn't have this problem with the old version which was ppc only if I recall correctly. Also, I'm getting those glitches even with the simplest [osc] to [dac~] patches.

This is starting to drive me insane. Any help would be kindly appreciated.

Thanks Obiwannabe,

I'll agree that there is probably a cultural chasm I am trying to look across,..

... but not on account of the tools and practices having not come *to* us.

I think the issue at our end is more that the tools and practices have not sprung *from* us.

For example, I've been networking e-Creative Practitioners of all sorts all across the world for some years now, and so, I've been lucky enough to be able to predict when several individual practices were to spill into the domain of *public practices*.

And so I did with music too,.. but without a clue to the decimation we saw over the past few years. As you say, it "has basically killed off a generation of really creative musicians and producers".

In fact, I know of at least two large TV-production houses here in India who've entirely dispensed with professional musicians, by just bumping 1-2 junior executives into learning Reason and/or FruityLoops,.. as an additional skill. Meanwhile, some others now offer external professionals as little as $50-100 for original jingles and programme ids.

And that really hurt for a guy like me, who had always held that music would be one of the last primary creative skills to fall into the domain of public practices, because a very-very special spark is needed to drive every good musician.

So, it was a reeeeeaaal pleasure for me to begin to learn, earlier this year (mainly from Lawrence Casserley), that what had actually happened to the cutting-edge of music and creative-audio was that it was entirely elsewhere!

But music is not my primary preoccupation, so I've been slow about expanding my comprehension of what is happening with Max & Pd and so on, while my developing actual skills lags even further behind.

And yes, I am also conscious that all of this is so new and so 'foreign' to so many of us, that we all also run the risk of falling into the same old traps of fascination and infatuation that have always yielded and also legitimized so much nonsense from every new medium in its infancy.

To cap that, I also do believe that the old need not always give way entirely to the new ~ by which I mean that surely good evolution ideally carries goodies forward.

For example, if I apply a parallel delay to the live-performance of a guitarist in realtime, it can be said that his performance itself might be carried forward by this technological empowerment. However, if I first *record* just an audio-slice of the guitarist and then play that back with a delay, whether alongside his ongoing performance or otherwise, then that can surely be seen to be the genesis of something else altogether.

Which brings me back to my original question ~ probably grounded in ignorance or perhaps just a quest for oversimplifaction.

"Why does not a patch as follows:

[adc~]
/ \
/ [Delay 500]
/ /
[dac~]

simply yield a realtime signal at left along with a delayed signal at right?"

I know it sounds stupid, but after all, why not?

Keep well ~ Shankar

I think this is a cultural question, not a technical one Shankar, and there's a cultural answer. For almost 15 years in "the west" there's been an industry pushing quick and easy solutions to making music. That quick and easy approach is "buy our sample libaries".

I could write you a PhD thesis type essay on why this sucks, why the sample peddlers
have triumphed over the possiblity of human programmable synthesisers, why the cult of emulation and "hip hop" producers sampling loops of other peoples records has brought music down to the lowest common denominator. But I can sum it up in
one... creativity is hard. (And nobody wants to pay for it any longer, or invest
time in cultivating it)

I'm trying, in my own gentle way, to spread a little understanding and fresh enthusiasm for what I think has become a hidden art. Really understanding sound and synthesis is orders of magnitude (if there were such a scale) more difficult than grabbing a breakbeat from a record or going out with a microphone to collect material. Music making with preset tools has become so easy, and producers so lazy, that even the top paid studio producers do little except arrange other peoples work, and many lack even the most basic engineering skills to do recording and preproduction work on live material. Everyone wants to be a musician these days and put their "original" creations up on MySpace, and they can be - with Acid, FruityLoops and Reason you can just audition a few loops, press the "good" button and voila! Except your "original creation" is just a permutation on the same sound everybody else is making. That's why much music is so dreary, predictable and stale these days I think. The mainstream tools have become so rigid that it's impossible to subvert their use, and subversion is the essence of creative art.

Anyway, it would be arrogant to judge other peoples approach to music making this way. I myself spent many years hooked into the cult of sampling and making music
from other peoples work - it just became a boring creative cul-de-sac.

However, I would argue as a professional producer who has seen the industry go though many changes that the easy route to music making with sample libraries, combined with the mainstream medias greed for fast and cheap products has basically killed off a generation of really creative musicians and producers.

I've revised my paraphrasing of Miller about "undoing the sampling revolution".
There never was a sampling revolution. Sampling is the status quo, and the synthetic
revolution is still waiting to happen.

I say, stick with Pd, put in the effort to really understand manipulating and creating sound from first principles and you will harvest the fruits of its power and let your genuine creativity shine through.

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ha ha , you guys are so nice.

come to beijing on july 25th! i'm playing in a pool bar with panda twin.

the patch takes care of the sample looping. of course i had to cut all my samples so that they were exactly 4 , 8 , 16 , 32...etc beats long, but the actual looping is controlled by the patch. ....you just do calculations based on the sample length output by soundfiler to determine the speed each sample needs to be played at.

the reasons it doesn't glitch:

1. the samples (about 70 samples at a total of 20meg i guess) are preloaded into arrays. this means no glitch from loading new samples mid set.
2. every time a "cut" is made, a line~ object sends the signal to zero for about 10 ms...this stops the pop sound you get when you randomly splice two pieces of audio together.
   
   my mac is 800mhz, but the processes in that patch only use a fraction of cpu.
   
   by the way zenpho, i have posted other tracks in this forum...older ones...should be in the output: feed ears section still. i just hope i still have them online.
   
   thanks for the positive feedback. i'll let you guys know how my china gig goes.
   
   matt

this is outrageously cool hardoff!
you rock sir...

Seriously tho, what spec is your machine to cope with all that sample mangling without once glitching?

Well I guess even if it did glitch, we might not notice through all the purposeful glitching.

Did you make sure all the samples would loop in time before you loaded them into this monster project? or was it all very skillfully mixed beforehand?

It is damned funky no matter what, I once saw someone do a similar thing to this at a local open-mic night - he used max/msp tho... you could very well have started a whole new level of DJing, a whole new era unfolds before you...

When can I hear more?

arrrrrgggg:

This is the GridFlow 0.8.0 configurator within Ruby version 1.8.2
[fast] Compile for speed (and not debuggability): enabled
[gcc3] GNU C++ Compiler 3: missing (undefined method `<' for nil:NilClass)
[stl] C++ Standard Template Library: missing (gcc compilation error)
[gcc64] GNU C++ in 64-bit mode: missing (gcc compilation error)
[libruby] Ruby as a dynamic library: missing (gcc compilation error)
[librubystatic] Ruby as a static library: missing (gcc compilation error)
[pentium] Pentium-compatible CPU: missing (gcc compilation error)
[mmx] MMX-compatible CPU (using NASM): disabled (would need pentium)
[simd] SIMD (MMX/SSE/Altivec) (using GCC): disabled (would need pentium)
[profiler] profiler (speed measurements): disabled (would need pentium)
[usb] USB Library: missing (where is usb.h ?)
[ieee1394] IEEE1394 Libraries for Linux (raw1394/dc1394): disabled (by author)
[x11] X11 Display Protocol: missing (where is X11/Xlib.h ?)
[x11_shm] X11 acceleration through shared memory: disabled (would need x11)
[sdl] Simple Directmedia Layer (experimental support): missing (where is SDL/SDL.h ?)
[objcpp] GNU/Apple ObjectiveC++ Compiler: missing (where is objc/Object.h ?)
[quartz] Apple Quartz/Cocoa Display: disabled (would need objcpp)
[aalib] Ascii Art Library: missing (where is aalib.h ?)
[jpeg] JPEG Library: missing (where is jpeglib.h ?)
[png] PNG Library <libpng12/png.h>: missing (where is libpng12/png.h ?)
[png] PNG Library <png.h>: missing (where is png.h ?)
[videodev] Video4linux Digitizer Driver Interface: missing (gcc compilation error)
[mpeg3] HeroineWarrior LibMPEG3 <libmpeg3/libmpeg3.h>: missing (where is libmpeg3/libmpeg3.h ?)
[mpeg3] HeroineWarrior LibMPEG3 <libmpeg3.h>: missing (where is libmpeg3.h ?)
[quicktimeapple] Apple's QuickTime: missing (gcc compilation error)
[quicktimehw] HeroineWarrior QuickTime4Linux (or LibQuickTime) (try #1): missing (gcc compilation error)
[quicktimehw] HeroineWarrior QuickTime4Linux (or LibQuickTime) (try #2): missing (gcc compilation error)
[xine] Xine movie decoder: disabled (by author)
[puredata] Miller Puckette's Pure Data: disabled (would need libruby or librubystatic)
generating ./config.make
generating config.h
creating Makefile

humm.... it will probably compile but seem will could do not much without jpeg png video4linux X11 etc....

will wait a .deb package...

from the pd mailing list:

Hi all
apologies for cross-posts
Paschall
-=-=-=

University of Glamorgan
School of Electronics

CREATIVE TECHNOLOGIES
FUNDED RESEARCH STUDENTSHIPS

The School of Electronics invites applications for 1 full-time research
studentship leading to the award of PhD in the area of:

Creative Technologies (Software)

from applicants with a good honours degree in technology, science, or other
related subjects, and with an understanding of digital music production and
systems.

The successful applicant will be registered normally for MPhil, progressing
to PhD as soon as possible after the first year, and completing their PhD
after 3 years of research working on the following project:

* 3D Surround Mixing Environment (Ref:RP5)

Successful candidates will, subject to a satisfactory annual review, be paid
a maintenance bursary of £9,000 per annum, and have their research course
fees paid by the School (£3010) per annum. In the case of overseas
students, they will have their fees paid by the school (£8915) and receive a
bursary of £5,645 per annum. In addition, the School of Electronics has a
policy of engaging research students as part-time lecturers/demonstrators
where possible.

The successful candidate will join a new dynamic research group with
excellent research facilities. We have strong collaborations with industry,
research laboratories, and other academic institutions. On attaining the
PhD, the research experience gained will provide an excellent basis for a
career in industry and academia.

For further particulars and application forms contact:

Mrs Sue Morgan
School of Electronics
University of Glamorgan
Llantwit Road
Treforest
PONTYPRIDD CF37 1DL

Telephone: +44 (0) 1443 482542
E-mail:- sdmorgan@glam.ac.uk

Closing date: Completed application form (specifying project of interest
with reference number) and CV to above address, to be received by 25th
March 2005