Hi all.
I'm trying to connect to arduino using pduino 0.2. I have 0.38.4-extended distribution. When I load the test patch of pduino library i get the following errors:

OSCroute object version 1.05 by Matt Wright. pd: jdl Win32 raf.
OSCroute Copyright ? 1999 Regents of the University of California. All Rights Reserved.
O : Open Sound Control 4 PD, http://www.cnmat.berkeley.edu/OSC
S : original code by matt wright, pd hakcs cxc, Win32-port raf@interaccess.com
C: ver: 0.2, compiled: Mar 28 2004
iemlib1 (R-1.17) library loaded! (c) Thomas Musil 11.2006
musil@iem.at iem KUG Graz Austria
iemlib2 (R-1.17) library loaded! (c) Thomas Musil 11.2006
musil@iem.at iem KUG Graz Austria
iem_mp3 (R-1.17) library loaded! (c) Thomas Musil 11.2006
musil@iem.at iem KUG Graz Austria
iem_t3_lib (R-1.17) library loaded! (c) Gerhard Eckel, Thomas Musil 11.2006
musil@iem.at iem KUG Graz Austria
list split 1
... couldn't create
list-rev 2 0 3 1 (trigger->bang) connection failed
list-rev 3 0 4 1 (bang->bang) connection failed
list-rev 9 1 3 1 (trigger->bang) connection failed
list-rev 9 2 4 1 (trigger->bang) connection failed
analog 18 1 4 1 (trigger->bang) connection failed
comport - PD external for unix/windows
LGPL 1998-2005, Winfried Ritsch and others (see LICENCE.txt)
Institute for Electronic Music - Graz
Opened serial line device COM2

flatspace: can't load library in C:/Program Files/pd
blahsymbol: flatspace
iemlib: can't load library in C:/Program Files/pd
blahsymbol: iemlib
mapping: can't load library in C:/Program Files/pd
blahsymbol: mapping
arduino.pd 14 1 13 0 (comport->print) connection failed
error: $1: argument number out of range
error: $2: argument number out of range
Write error, maybe TX-OVERRUNS on serial line
Write error, maybe TX-OVERRUNS on serial line

As it can be seen in the log, i have iemlib installed, it sucessfully loads at startup, but i still get "iemlib: can't load library". I'm also having problems with flatspace and list split (as far as I've read in other forums and pd list, i should have both in my system).

What am i doing wrong?

THANKS!!!

> yes, probably. but now I'll try to run it on my Atari ST

Seriously try it if you get time one day. Oddly the Atari ST is still *THE* choice for some serious techno musicians. Why? The simplicity of how the UART is addressed and clocked gives it rock solid midi timing. It's something that seems to elude complex architectures even with the best preemptive scheduling, buffering etc. I've watched top producers take a midi file on floppy disk from their $5000 super Mac/PC systems to have it play back on an Atari for final mixdown. It's one of those analog vs digital type debacles where real experience of good ears trumps what "technically shouldn't be so". The ST lacks enough grunt for useful audio DSP, but as a midi processing hub or sequencer it could be an astonishingly powerful tool with pd if you can compile it.

>mhh... this is just a anthropomorphic vision of reality...

You got me.

>what I need to ask now is where I can find reference for all objects:
>I know that there's no menu of them and i have to type their name in those little boxes, but
>I need to know, at least, what objects I can create, typing their names, is it true?

Yeah that bothers me too. Even after using for it some time I forget the name of an atom and have to go looking for it. I often do something like "ls /usr/lib/pd/externs/ | grep pd_linux$ | less" to see if I actually have something. For windows likewise search the externals directory for .dll files

>so, I would like to have a list with the object identifier (for oscs, filters etc.), their
>details (kind of filters, slopes, ripples etc. for filters, as example ), their parameters (cutoff, Q, etc.)
>is there a documentation like this?

The help files are detailed, well written and easy to use. Once you know that such an object exists. Just right click any atom and select "help". Usually there's an example case.

Check these to find common atoms
http://puredata.hurleur.com/sujet-248-suggestions-noobs
http://ccrma.stanford.edu/courses/154/pd-reference.html
http://pure-data.sourceforge.net/documentation.php

>I know... but I still feel more confortable with a traditional language (C++, pascal), also
>for writing my personal VSTs (you know, for those weirdest things...) I think it's still easier to write "algorithms" with a textual language,
>without a graphical metaphore.

Raw code is not an expedient or practical way to make music. Having used Music(N), Csound, Nyquist (LISP/SCHEME), and all that stuff I can say this from the bottom of my heart after 15 years experience. Pd gives you two really important things from a software engineering point of view. It's modularity and clarity of interface in abstracting things just beats any C++ classes hands down for it's intended purpose - digital signal dataflows. Consequently you get better decoupling and better reuse. One of the few pitfalls for a trad programmer imho is that pd is very dirty on types, in a way it's one of the most badly typed languages I've ever experienced. Ironic for a tool called "pure data", but you get used to it's lovable idiosynchrocies vis lists, messages, numbers, arrays, symbols and generic "anys". Also it's scoping rules leave a lot to be desired, everythings global within one instance of the server unless you say $0- at the head of a name.

>But now I need to teach a course on "languages for electronic music" in classical, academic shool.
>they don't know DSP matchematics or something like,
>so I need to urgently search for use a more "abstract" instrument for doing the lessons...

You couldn't wish for a more appropriate tool. For non maths/physics students you can use the power of abstraction to build "black boxes" like synths, analysis tools and sequencers and then open them up later in the course. As Claude says, it takes about 9 months or more before you really take to PureData. Electronic music is BIG, really big, not as big as space but it's a discipline that just explodes in scope once you get into it. You can waste weeks writing externals in C, or designing a synth, or creating a composition method...you can get really lost on a random walk in d>2. The best way forward is to have a context and a goal. Teaching this course sounds like an excellent vehicle to focus your scope.

>Tried also Jmax but on Windows (required OS, because > 95% students use billgatesware ) is quite unstable

I would make it "unrequired". Put your foot down as course leader/tutor that Windows is unsuitable. In order of preference I would go with Mac, then Linux, then Win. If the students only have Windows then try Dyne:bolic ( http://dynebolic.org/ ), a minimal GNU/Linux distro that runs from a CD in RAM and comes preconfigured with PureData and a smorgasboard of other digital media tools. That said, I've seen it work really well on Windows. Once. I've no hard evidence to back this up, but I feel a disturbance in the force when Pd runs on Windows, as if a million threads cried out at once and were suddenly silenced. I don't think it likes heavily loaded machines and I guess 99% certain the reason it's unstable on Win is down to *other* things running. Hint: a music machine shouldn't double as an email server and GCHQ spyware centre. Start with a clean install and nothing else running and you may have better luck, but that will probably remain stable about as long as a schizophrenic Z-boson particle if you network it.

> Instituto Nacional de las Artes Escénicas y la Música
> MINISTERIO DE EDUCACIÓN, CULTURA Y DEPORTE
> Centro para la Difusión de la Música Contemporánea
>
> Curso:Introducción a la Creación de Aplicaciones Musicales con PD/MAX por
> Juan Andrés Beato y Gregorio García Karman
>
>
> 7 - 11 Marzo 2005
> teoría: 16.00 a 19.00 horas
> prácticas: del 8 al 11 de Marzo, de 11.00 a15.00 horas en grupos de 2
> alumnos (solo alumnos activos)
>
> lugar:
> LIEM-CDMC
> Museo Nacional Centro de Arte Reina Sofía, 5ª planta
> c) Santa Isabel 52, 28012 Madrid
>
>
> Pure Data (PD) es un entorno de programación gráfica para aplicaciones
> musicales que funciona bajo Windows, OSX, Linux e Irix. Desarrollado por
> Miller Puckette y de distribución libre y código abierto, constituye junto
> con MAX/MSP uno de los modelos de software musical de más impacto y
> difusión en la actualidad. La programación se realiza interconectando
> objetos gráficos, que representan instrucciones, en un entorno
> fuertemente desestructurado y optimizado para el procesado de audio y
> vídeo en tiempo real. Su objetivo es ofrecer al músico una herramienta
> intuitiva y versátil: se utiliza para crear instrumentos virtuales o
> emular el funcionamiento de equipos hardware, realizar composiciones de
> música electrónica en vivo, en instalaciones, conciertos en red y jams
> on-line. Su flexibilidad para tratar MIDI, audio, vídeo y 3D en un paquete
> integrado y con múltiples posibilidades de control, hace que encuentre
> también un número creciente de aplicaciones en el ámbito de los
> multimedia, la performance, VJing..., así como en la enseñanza, en la
> ingeniería de sonido y la musicología (arqueología electroacústica). El
> objetivo del curso es dar a conocer la filosofía y los fundamentos de
> programación de los entornos basados en el "paradigma MAX", ilustrados a
> través de ejemplos realizados en Pure Data así como de aplicaciones reales
> ya desarrolladas.
> Se tratarán los conocimientos necesarios para poder dar primeros pasos en
> este entorno, así como para que el alumno pueda desenvolverse
> posteriormente utilizándolo para la creación de aplicaciones musicales
> propias. A lo largo del curso, se realizará un repaso de los diferentes
> elementos de PD demostrando su funcionamiento junto con conceptos
> básicos del programa (orden, encapsulamiento...). Se presentarán las
> principales familas de objetos estudiando ejemplos implementados en PD de
> técnicas 'en vivo' de síntesis, control algorítmico, manipulación de
> muestras y procesado, afines a la música electroacústica. De manera
> destacada, se tratarán aspectos particulares de PD como las data
> structures, una herramienta específica de este entorno para el
> almacenamiento y visualización de datos que permite el control de PD desde
> partituras gráficas diseñadas por el usuario. También se realizará un
> repaso de los externals y librerías más relevantes utilizadas en la
> programación de aplicaciones musicales (objetos de análisis,
> comunicación, espacialización, streaming...), señalando algunos aspectos
> comunes y divergentes entre PD y su contrapartida comercial MAX. Desde una
> perspectiva más general, se tratarán cuestiones propias de los sistemas
> musicales en tiempo real como el acondicionamiento de datos de control o
> el mapping y se presentarán diferentes estrategias de control sonoro
> empleadas en la creación de aplicaciones musicales, analizando ejemplos de
> piezas realizadas con PD y MAX.
>
> Dirigido a:
> Compositores, intérpretes musicales, musicólogos, artistas sonoros,
> músicos en general tanto profesionales como estudiantes.
>
> Inscripción
> Número de plazas: 8 alumnos activos (serán seleccionados por currículum)
>
> 22 alumnos oyentes
>
> Precio de matrícula: 45 euros. Descuento del 50% a estudiantes que lo
> acrediten
> Para inscribirse envíen una carta de solicitud con su nombre, dirección,
> teléfono, correo electrónico y/o fax indicando su intención de optar a
> "alumno activo" o no, y su currículum especificando experiencia en los
> campos que cubre el curso
> Envíen por correo ordinario, electrónico o fax a:
> "Curso Introducción a la Creación de Aplicaciones Musicales con PD/MAX "
>
> LIEM-CDMC
> (Museo Nacional Centro de Arte Reina Sofía)
> c) Santa Isabel 52 , 28012 Madrid, ESPAÑA
> tel: (+34) 91 774 1072, (+34) 91 774 1073; fax: (+34) 91 774 1075
> cdmc@inaem.mcu.es [url=http://cdmc.mcu.es ]http://cdmc.mcu.es
>
> El plazo de inscripción se cerrará el primer día de clase. No obstante el
> 24 de febrero se comunicará a los asistentes su admisión como alumno
> activo u oyente.
> El pago de matrícula deberán realizarlo después de que les hayamos
> confirmado la admisión, y el primer día de clase deberán entregarnos el
> justificante del pago.
> Ingresar el importe en cualquier oficina del BBVA, a nombre del
> Instituto Nacional de las Artes Escénicas y de la Música, en la cuenta
> siguiente:
> Entidad: 0182 Sucursal: 2370 Dígito de control: 40 c/c:
> 0200201218
> Al término del curso, los alumnos recibirán un diploma acreditativo de
> asistencia.
> Cualquier información que se precise sobre estos cursos o las diversas
> actividades del CDMC, puede solicitarse en la dirección indicada
> anteriormente.
>