It depends.... to take a strict design approach a well thought out synth will shut down any DSP that isn't routed in, and two small filters might not seem like much until you run 10 instances of it and wonder why there is a residual CPU usage when you aren't playing anything. Bypassing/routing on only the input side can also lead to unwanted noise if you have a filter selector which leaves outputs connected. For common household composition though ... nah, they won't matter

Me or Matt? There's no Brighton Texas afaics So yeah!!! I live just along the coast
from you, couple of hours away. If we get 4 or 5 who put in a few quid we can hire a room,
projector and sound rig, and then go down the pub after a workshop and
jamming session. I pinged the Blip organisers to see if they have any slots for a Pd workshop this year.

OPEN technologies workshop, Zaragoza, Spain, June 26th - July 1st

http://www.0j0.org/pmwiki/index.php/Events/GohanDevelopmentJun07

******* FREE WORKSHOP ANNOUNCEMENT *******

Arduino, Pd, and Processing are becoming more and more intertwined. Sensors controlling software synthesis, robots controlled by video tracking, custom musical instruments, and more. We are a collection of developers working with these free software tools. Join us to work on projects of these combinations, or help us create new possibilities by bringing these tools ever more intertwined.

This event is a combination of a hacklab and a barcamp. We are following the ad hoc, participant-driven nature of the barcamp in combination with the collaborative work studio environment of a hacklab. If you have not been to a hacklab, barcamp, and/or unconference before, here are a couple of good references to get an idea of the way it is done:

BarCamp on wikipedia: http://en.wikipedia.org/wiki/BarCamp

There will be workshops and talks, and plenty of time to work together. We will all be working together to create projects which will then be exhibited in Zaragoza. Bring one or more of the following: ideas, projects, a desire to learn, a desire to teach. Come everyday to pick up skills and finish your project. Come whenever you can to learn new bits and pieces, and help build compelling things to exhibit!

Dates & Location:
June 26th (Tuesday) - July 1st (Sunday)
Centro de Historia
Pl. San Agustín 2
50002 Zaragoza - Spain
http://www.zaragoza.es/centrodehistoria/

Team - Guest developers:
* Hans-Christoph Steiner, Pd, Polytechnic University, community management
* Emanuele Roman, Processing, visual representation[visio imaginorum sonus est]
* XÄ, Pd, electronic music

Team - Resident developers:
* David Cuartielles from Arduino
* Marcos Yarza from Libelium, physical interfaces

Join us! Just sign up on the register page!

http://www.0j0.org/pmwiki/index.php/Jun07/Register

If you live near Zaragoza and are willing to host people, please mark that on the registration page. If you want to come and need a place to stay, contact people on the registration page who marked themselves as hosts.

.hc

A really extra simple music tutorial for complete beginners. Make a 4 track sequencer that only uses selects and messages. As it's for a workshop there's a pdf you can grab, which may be updated with acrobat links at some point.

http://www.obiwannabe.co.uk/html/music/musictuts/compose1/composition1/composition1.html

best,

Andy

hi and welcome!

i'll answer as well as i can, but hopefully some people will be able to correct me or fill in the gaps.

1. i've never heard of anything in pd that will display the inlets/outlets in a status bar, but if you right click(ctrl click) on on object and bring up the help file, they usually tell you what the in/outlets are for. ..also, the majority of objects seem to follow a similar convention for their in/outlets, so it becomes second nature quickly i think.

2. http://umatic.nl/workshop/objects.txt

3. " is there a simpler way to download the latest externals" ..you can download an entire pd extended from hans: http://at.or.at/hans/pd/installers.html ..it doesn't include EVERYTHING, but it has more than enough externals to keep you busy for a LONG time.

Great start, Nice waveform crossfader. I don't seem to get the stutter you talk about. Maybe you need to tweak your audio settings. See if you get the stutter when you use media->test-Audio/MIDI and only play a test tone.

If you want a smoother control of the sound add some [line] or [line~] generators. See the "Theremin" example in this workshop.

http://www.obiwannabe.co.uk/html/workshops/mediamatic/mediamatic.html

[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::

> 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.
>

and "all " objects and a short definition in line :
[url=http://umatic.nl/workshop/objects.txt ]http://umatic.nl/workshop/objects.txt

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

Great!

I know the various IEM work on Ambisonic and desktop Wave Field Synthesis, there was some presentations and a nice demonstration (the PD ambisonic/binaural thing) by Robert Holdrich in Banff, june 2003.

IEM definetly look like a great place which evoke a nice balance of science, tech and art.

The reason why I am building a PD ambisonic patch is that I have to create a few hours workshop on spatial audio for artists. Anyway, I have decided to include my patch, which is now working for ambi^1 and ambi^2, in the annexe of my thesis which is devoted (and unfinished!) to sound field reproduction in room, we have a strong background in active control of noise and sound, so its a mixture of those things.

BTW, I was planning to create few other things (just for fun!) like the stereo-dipole or the optimum source distribution with PD, I remember Holdrich speaking of such thing. Did you, at IEM, have been through such things?

I have found few other interesting applications of mtx objects, in connection with my music project with "automated live improvisation" its quite useful, specially for my "serializm is good for you!".

Anyway, you may also enjoy my bibliography (which should be updated frequently) :

[url=http://www3.usherbrooke.ca/philippe_aubert_gauthier/biblio_1.html ]http://www3.usherbrooke.ca/philippe_aubert_gauthier/biblio_1.html

Before september, more than 100 paper on synthetic shoudl be added by one my student colleague.

Ciao!