- chuck-users - lists.cs.princeton.edu

Loading Chugins
by Perry Cook 03 Dec '17

03 Dec '17

Ok, another stab might be to build the chugin from source, to make sure the binary is the right DNA for your platform. These should be in a git somewhere. Sorry this is being such a pain. Prc Sent from my iPhone > On Dec 3, 2017, at 9:00 AM, chuck-users-request(a)lists.cs.princeton.edu wrote: > > Send chuck-users mailing list submissions to > chuck-users(a)lists.cs.princeton.edu > > To subscribe or unsubscribe via the World Wide Web, visit > https://lists.cs.princeton.edu/mailman/listinfo/chuck-users > or, via email, send a message with subject or body 'help' to > chuck-users-request(a)lists.cs.princeton.edu > > You can reach the person managing the list at > chuck-users-owner(a)lists.cs.princeton.edu > > When replying, please edit your Subject line so it is more specific > than "Re: Contents of chuck-users digest..." > > > Today's Topics: > > 1. Re: Loading ChuGins (from Daniel Meowington) (Daniel Meowington) > > > ---------------------------------------------------------------------- > > Message: 1 > Date: Sat, 2 Dec 2017 13:22:33 -0500 > From: Daniel Meowington <mylenthes(a)gmail.com> > To: ChucK Users Mailing List <chuck-users(a)lists.cs.princeton.edu> > Subject: Re: [chuck-users] Loading ChuGins (from Daniel Meowington) > Message-ID: > <CAFChw=JsmmVArOArkEBVV+0ZFXSoKmX+gEsD7zsDNav1rE5QFQ(a)mail.gmail.com> > Content-Type: text/plain; charset="utf-8" > > It still doesn't seem to load. I put it in the same folder as the chuck > file. I tried setting the path to the same folder with > --chugin-path:<path>, and loading the chugin with --chugin:GVerb (I also > tried --chugin:GVerb.chug), and no luck, the same message is output. I > don't know what else to try. > > Chugins are initialized in the chuck file the same way as any other UGen > right? I am doing "GVerb r;" > > Jesse > >> On Wed, Nov 29, 2017 at 7:43 PM, Perry Cook <prc(a)cs.princeton.edu> wrote: >> >> I don?t have your environment, but some directory should do >> the trick. On my Mac, it?s in /usr/lib/chuck >> >> For now, you could try loading the specific ChuGin by name >> at runtime: >> >> chuck -chugin:<name> yourchuckfiles.ck >> >> I put the chugin I want right in the same directory just >> to make sure. >> >> Hope this helps. If it does, then you can probably work backward >> to finding the right directory to stash them. >> >> PRC >> >>> On Nov 29, 2017, at 9:00 AM, chuck-users-request(a)lists.cs.princeton.edu >> wrote: >>> >>> Send chuck-users mailing list submissions to >>> chuck-users(a)lists.cs.princeton.edu >>> >>> To subscribe or unsubscribe via the World Wide Web, visit >>> https://lists.cs.princeton.edu/mailman/listinfo/chuck-users >>> or, via email, send a message with subject or body 'help' to >>> chuck-users-request(a)lists.cs.princeton.edu >>> >>> You can reach the person managing the list at >>> chuck-users-owner(a)lists.cs.princeton.edu >>> >>> When replying, please edit your Subject line so it is more specific >>> than "Re: Contents of chuck-users digest..." >>> >>> >>> Today's Topics: >>> >>> 1. Re: How do I load ChuGins? (Daniel Meowington) >>> >>> >>> ---------------------------------------------------------------------- >>> >>> Message: 1 >>> Date: Tue, 28 Nov 2017 19:45:12 -0500 >>> From: Daniel Meowington <mylenthes(a)gmail.com> >>> To: chuck-users(a)lists.cs.princeton.edu >>> Subject: Re: [chuck-users] How do I load ChuGins? >>> Message-ID: >>> <CAFChw=J2e39XEDepiTacyh8KvVp41wARcq5C02FnrOtQMqsBxg@mail. >> gmail.com> >>> Content-Type: text/plain; charset="utf-8" >>> >>> Reply to me you scrubs. The default reverbs suck, and I don't feel like >>> learning how to make a highly configurable reverb from scratch. >>> >>> On Mon, Nov 20, 2017 at 12:15 AM, Daniel Meowington <mylenthes(a)gmail.com >>> >>> wrote: >>> >>>> I'm on arch linux. Chuck and miniAudicle version 1.3.5.2. >>>> >>>> I installed the entire collection from git. Trying in miniAudicle to use >>>> `GVerb` or any other ChuGin for that matter outputs the message >> "undefined >>>> type 'GVerb'...". >>>> >>>> I also tried the command line by setting chugin-load to auto, setting >> the >>>> path, doing `chugin:GVerb`, none of which worked, all give the same >> message. >>>> >>>> I doubled checked and they are indeed in my /usr/local/lib/chuck folder. >>>> >>>

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Re: [chuck-users] Loading ChuGins (from Daniel Meowington)
by Perry Cook 02 Dec '17

02 Dec '17

I don’t have your environment, but some directory should do the trick. On my Mac, it’s in /usr/lib/chuck For now, you could try loading the specific ChuGin by name at runtime: chuck -chugin:<name> yourchuckfiles.ck I put the chugin I want right in the same directory just to make sure. Hope this helps. If it does, then you can probably work backward to finding the right directory to stash them. PRC > On Nov 29, 2017, at 9:00 AM, chuck-users-request(a)lists.cs.princeton.edu wrote: > > Send chuck-users mailing list submissions to > chuck-users(a)lists.cs.princeton.edu > > To subscribe or unsubscribe via the World Wide Web, visit > https://lists.cs.princeton.edu/mailman/listinfo/chuck-users > or, via email, send a message with subject or body 'help' to > chuck-users-request(a)lists.cs.princeton.edu > > You can reach the person managing the list at > chuck-users-owner(a)lists.cs.princeton.edu > > When replying, please edit your Subject line so it is more specific > than "Re: Contents of chuck-users digest..." > > > Today's Topics: > > 1. Re: How do I load ChuGins? (Daniel Meowington) > > > ---------------------------------------------------------------------- > > Message: 1 > Date: Tue, 28 Nov 2017 19:45:12 -0500 > From: Daniel Meowington <mylenthes(a)gmail.com> > To: chuck-users(a)lists.cs.princeton.edu > Subject: Re: [chuck-users] How do I load ChuGins? > Message-ID: > <CAFChw=J2e39XEDepiTacyh8KvVp41wARcq5C02FnrOtQMqsBxg(a)mail.gmail.com> > Content-Type: text/plain; charset="utf-8" > > Reply to me you scrubs. The default reverbs suck, and I don't feel like > learning how to make a highly configurable reverb from scratch. > > On Mon, Nov 20, 2017 at 12:15 AM, Daniel Meowington <mylenthes(a)gmail.com> > wrote: > >> I'm on arch linux. Chuck and miniAudicle version 1.3.5.2. >> >> I installed the entire collection from git. Trying in miniAudicle to use >> `GVerb` or any other ChuGin for that matter outputs the message "undefined >> type 'GVerb'...". >> >> I also tried the command line by setting chugin-load to auto, setting the >> path, doing `chugin:GVerb`, none of which worked, all give the same message. >> >> I doubled checked and they are indeed in my /usr/local/lib/chuck folder. >> >

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jobs at the Columbia University Computer Music Center
by Brad Garton 02 Dec '17

02 Dec '17

Hello chuck-ers! We have just announced two open positions at the CMC: one is for the Assistant Director of the CMC, and the other is a faculty search for the Director of our Sound Art program. I've included the announcements below. Please pass these along to anyone you think might be interested. Thanks! Brad Garton Columbia University Music Department Director, CMC ------------------------------------------------- Assistant Director, Computer Music Center and Sound Art Program (Officer Grade 12) Close Date: Open Until Filled to apply: jobs.columbia.edu/applicants/Central?quickFind=166090 Job Summary Reporting to the Director of the Computer Music Center (CMC) the assistant director is responsible for supervising and managing the operation of a complex array of uniquely configured computer-music systems necessary to undergraduate and graduate course offerings, and to faculty or visiting researchers and composers. Computer Music Center (CMC) The assistant director is directly responsible for the efficient operation of all CMC studios and spaces. The assistant director uses his or her expertise in subject matter as well as experience managing similar functional spaces to assess user needs and present proposals to CMC Director for selection and purchase of appropriate new hardware and software. Sound Art Program Work with Visual Arts administration in the School of the Arts to schedule Sound Art classes. Work with deans of School of the Arts, to promote and manage the administration and operations of the Sound Art program. Act as a primary point of contact and coordinates activities and purchases with related entities including CMC/Music/Visual Arts to ensure smooth, efficient and cost-effective operations. Operations Management CMC and Sound Art Program Manage and maintain all CMC and Sound Art equipment; this includes managing current checkout system for equipment, room scheduling, and the maintenance of existing equipment. Requests and schedules needed summer maintenance; oversees and ensures the completion of necessary tasks such as cleaning and painting the walls and floors of the project spaces, and the restocking of supplies for the common areas and offices used by the CMC and the Sound Art program. Financial Management CMC and Sound Art Program: Financial, budgets, and purchasing: The assistant director is responsible for creating and managing budgets, endowments, and grants for the CMC. This includes approving CMC transactions, performing regular reconciliation, developing and adjusting budgets and reports as needed. Responsible for purchasing supplies and equipment and processing all paperwork processed to Purchasing and to the Office of the Controller. S/he is responsible for trouble-shooting and resolving financial issues. Works closely with the Music Department’s administration to complete year-end and budgeting activities as needed. Supervises work-study and casual employees as related to maintenance and operation. Preferred qualifications: Advanced degree in Music/Audio with specialized knowledge in computer music. Knowledge of ARC, Budgeting Tool and other Columbia financial systems. Columbia University is an Equal Opportunity/Affirmative Action employer. Columbia University is committed to the hiring of qualified local residents. ------------------------------------------------- ------------------------------------------------- Assistant /Associate Professor in Visual Arts (Sound Art), tenure-track or Assistant /Associate Professor of Professional Practice in Visual Arts (Sound Art) The Visual Arts Program of the School of the Arts, in collaboration with the Department of Music, seek to fill the position of Assistant or Associate Professor of the Arts or Assistant or Associate Professor of Professional Practice of the Arts in the School of the Arts, Columbia University, effective 1 July 2018. The successful candidate will have a vibrant studio practice in sound art with a demonstrated ability to teach and mentor graduate students. The incumbent will oversee the Sound Art Program working closely with faculty in the Department of Music's Center for Computer Music and the Visual Arts faculty in the School of the Arts. Candidates may be appointed on professional practice or tenure track at the discretion of the Dean. Candidates for Assistant/Associate Professor of the Arts (tenure-track) must have a demonstrated capacity for creative work and exhibit the potential for continuing to make influential professional or artistic contributions, as well as significant contributions to their areas of pedagogy. Graduate teaching experience required. Candidates for Assistant/Associate Professor of Professional Practice of the Arts must have a demonstrated capacity for creative work and exhibit the potential for continuing to make significant contributions to their areas of professional practice and accompanying pedagogy. Graduate teaching experience required. A bachelors degree or equivalent is required. MFA/DMA or advanced degree is preferred. The school is especially interested in qualified candidates whose record of achievement will contribute to the diversity goals of the institution. For more information and to apply for this position, please visit our online site at: https://academicjobs.columbia.edu/applicants/Central?quickFind=65509 Review of applications will begin 15 January 2018 and continue until the position is filled. Columbia University is an Equal Opportunity/Affirmative Action employer. -------------------------------------------------

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How do I load ChuGins?
by Daniel Meowington 28 Nov '17

28 Nov '17

I'm on arch linux. Chuck and miniAudicle version 1.3.5.2. I installed the entire collection from git. Trying in miniAudicle to use `GVerb` or any other ChuGin for that matter outputs the message "undefined type 'GVerb'...". I also tried the command line by setting chugin-load to auto, setting the path, doing `chugin:GVerb`, none of which worked, all give the same message. I doubled checked and they are indeed in my /usr/local/lib/chuck folder.

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Can I use ADSR UGen to envelope parameters other than gain (e.g. pitch)?
by Jean Menezes da Rocha 01 Nov '17

01 Nov '17

Hello, the ADSR UGen, to me, seems to have effect only over amplitude (which is its original function, I concede). However, is there any use case where I can use ADSR to map, say, pitch instead of amplitude, in order to avoid recurring to functions and for loops? Thanks in advance! -- Jean Menezes da Rocha Compositor Professor Doutorando em Música pela Universidade Federal da Bahia

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DSP question: accumulating frequency info using FFT?
by Jascha Narveson 15 Oct '17

15 Oct '17

Chuck list! Help! I have the following idea and I’d like to hear what it sounds like: - play a sound into an FFT - as the FFT runs, for each bin: - - look at the magnitude info - - take a small fraction of this info and store it in a running total - - let the phase pass through unchanged - use the spectral data in the running total for the IFFT What I was hoping for was a slow emerging smear of all the frequencies from the input sound, kind of like a weird version of some kind of “infinite sustain” reverb. What I’m getting is the attacks of the original sound coming through, although fading in, and covered with noise. I think I’m doing something wrong by not doing something with the phase, but I’m not sure what. I’d love some advice… cheers, j - - - - c o d e e x a m p l e - - - - SinOsc synth => FFT fft => blackhole; UAnaBlob blob; IFFT ifft => dac; synth.freq(440); synth.gain(0.1); // set parameters 2048 => fft.size; // place to hold the FFT data as it comes in complex spec[fft.size()/2]; // place to store the accumulated FFT data, preload with zeroes complex acc[fft.size()/2]; for(0 => int i; i < acc.cap(); i++) { #(0, 0) => acc[i]; } // do it! spork ~ sawTune(); spork ~ accumulateFrequenciesViaFFT(); while (true) { 1::second => now; } fun void accumulateFrequenciesViaFFT() { while( true ) { fft.upchuck() @=> blob; // get the data blob.cvals() @=> spec; // for every bin... for(0 => int i; i < spec.cap(); i++) { // get the mag/phase for each bin by converting to polar spec[i] $ polar => polar newBin; // and get our running totals from acc acc[i] $ polar => polar accBin; // scale the inocming mag and add it to acc newBin.mag * 0.001 +=> accBin.mag; // let phase pass through newBin.phase => accBin.phase; /*Math.random2f(0, TWO_PI) => accBin.phase;*/ // convert back to complex and put back in the acc array accBin $ complex => acc[i]; } ifft.transform(acc); fft.size()::samp => now; } } fun void sawTune() { while (true) { Math.random2(48, 72) => int midinote; Math.mtof(midinote) => synth.freq; 333::ms => now; } }

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Chuck Racks
by Spencer Salazar 14 Oct '17

14 Oct '17

Greetings, I would like to announce the first official beta release of Chuck Racks: http://mtiid.calarts.edu/projects/software/chuck-racks/ ChucK Racks makes it possible to write and execute ChucK programs as VST/AudioUnit plugins. The ChucK Racks architecture supports the following features: - Process incoming audio in ChucK (i.e. Audio FX plugins) - Process MIDI events from the host in ChucK programs (MIDI FX plugins) - Write synthesis plugins in ChucK that run as regular synthesizer audio plugins in a host/DAW - Synchronize clock and beat-time between a host/session and ChucK - Generate new MIDI/OSC events from ChucK (e.g. writing MIDI/OSC sequencer plugins) - Automate variables in ChucK code using host automation lanes Chuck Racks was developed by Jordan Hochenbaum, Rodrigo Sena, and myself here at CalArts. Enjoy and please feel free to let us know of any feedback! Regards, Spencer -- Spencer Salazar, PhD Special Faculty Music Technology: Interaction, Intelligence, and Design California Institute of the Arts ssalazar(a)calarts.edu | +1 831.277.4654 https://spencersalazar.com

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linux build failure, qt5 support?
by Colleen Josephson 13 Oct '17

13 Oct '17

I'm trying to run 'make linux-jack' in miniAudicle1.3.5.2's source directory, and the build fails nearly immediately with: which: no qmake-qt4 in (/home/cjoseph/anaconda2/bin:/usr/local/bin:/usr/bin:/bin:/opt/bin:/usr/x86_64-pc-linux-gnu/gcc-bin/4.9.3:/usr/x86_64-pc-linux-gnu/avr/gcc-bin/4.8.2:/usr/x86_64-pc-linux-gnu/gnat-gcc-bin/4.3:/usr/libexec/gnat-gcc/x86_64-pc-linux-gnu/4.3:/usr/games/bin:/usr/local/ec2/ec2-api-tools-1.6.13.0/bin:/home/cjoseph/piran/platform_util) .... In file included from qt/mAMainWindow.cpp:25:0: qt/mAMainWindow.h:28:23: fatal error: QMainWindow: No such file or directory #include <QMainWindow> The website just specifies qt4.8+, I currently have Qt 5.6.2. Is there any QT5 support? QT5 has been out for 5 years now and it's nearly impossible to downgrade, so I am really hoping the answer is yes! Thanks, -Colleen

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what exactly is tuned feedback?
by Michael Heuer 12 Oct '17

12 Oct '17

All, The Dave Smith DSM03 Feedback module has what is described as tuned feedback https://www.davesmithinstruments.com/product/dsm03-feedback-module/ I have the same question as was posted here "I'm trying to understand what 'tuned feedback' means -- does this mean the signal enters a delay line that lasts one cycle of a certain pitch? (So, say, a 50Hz sound is a 20ms delay line.) Does this end up reinforcing that pitch when you hear the sound? (I guess it would reinforce multiples of the pitch too, but less so.)" https://www.kvraudio.com/forum/viewtopic.php?p=1673572&sid=ae6a060ebaffea26… Thanks! michael

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Wrap/Modulo UGen
by mario buoninfante 02 Aug '17

02 Aug '17

Hi All, do you guys know if there's a Modulo/Wrap Ugen? I'd like to use the same Phasor to read 2 or more different arrays (Wavetable UGen), but I must read them from a different starting point. cheers, Mario

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Re: [chuck-users] phase modulation and hard sync?
by mario.buoninfante 05 Jun '17

05 Jun '17

Hi Alexandre, If you look at the complete formula here (under "spectral analysis" - for sure it is better then my explanation): https://en.wikipedia.org/wiki/Frequency_modulation_synthesis?wprov=sfla1 You can see that alongside the Carrier Frequency there's the phase. This one is a sine wave (that goes from -1 to 1). Now we can consider SinOsc on ChucK, the same that the first sin in the formula above. Everything is feeding SinOsc in ChucK can be considered the same that all the stuff into parenthesis. Thus the argument you pass to SinOsc ( oscil.freq(certainFreq) ) is the Carrier Frequency (a fixed argument) and the the signal coming out from the Fm oscillator (scaled with a given value Am/Fm or ModInd, it is the same) is modulation factor that makes the Carrier Freq oscillate. Now 2pi is needed only if you deal with a ramp, with a phasor. Cause Phasor*2pi gives you a sine. If you already have a sine there is no need to use 2pi. Cheers, Mario Sent from my Wiko ROBBYOn Jun 4, 2017 17:20, Alexandre Torres Porres <porres(a)gmail.com> wrote: > > 2pi is already there if you are using a phase input, cause it seems the phase is normalized (0 to 1 instead of 0 - 2pi) in Chuck. > > What I mean is how to implement the same result with both frequency and phase modulation in a Chuck code, using SinOsc. > > All these things have to be adjusted > > But if the phase input wasn't normalized to 0-1, like is the case with SuperCollider, you don't need it. > > cheers > > 2017-06-04 13:09 GMT-03:00 mario.buoninfante <mario.buoninfante(a)gmail.com>: >> >> Hi Alexandre, >> >> In my implementation there's no need to use 2pi. That is required if you're using a phasor (in math terms). In that case you need 2pi to have the angular frequency. But if you're using instead a Sine wave there's no need, cause 2pi is already there. >> Looking at the formula I posted before, the Fm oscillator is the phase parameter, while the Cm is the frequency. You can consider them as an offset (Cm) and an deviation from it (Fm). >> The index mod is equal to Am/Fm, but of course the parameter that you can use with an oscillator is the amplitude (Am), thus from the previous one you have Am = Fm*modInd >> >> Cheers, >> Mario >> >> Sent from my Wiko ROBBY >> >> On Jun 4, 2017 16:39, Alexandre Torres Porres <porres(a)gmail.com> wrote: >>> >>> btw, for adjusting the index, you're just multiplying the frequency to the index, you should also multiply it by 2pi (like Jean found out by accident). >>> >>> >>> 2017-06-04 12:29 GMT-03:00 Alexandre Torres Porres <porres(a)gmail.com>: >>>> >>>> >>>> >>>> 2017-06-04 4:24 GMT-03:00 mario buoninfante <mario.buoninfante(a)gmail.com>: >>>>> >>>>> this is the simplest modulation, that usually is considered as FM, but in the end is a PM. >>>> >>>> Well, as I see it, it should be either FM or PM, it can't be one but in the end is something else. And your code is can only (not usually) be considered FM. >>>> >>>> But it seems you're saying both are related, without getting into details - which is something we've already discussed here, and I've also pointed out (with no details either). But the bottom line is that they're different, and the same input parameters generate different results. Though I've said before the parameters can be "converted"/"adjusted" to sound the same. >>>> >>>> Namely, the same modulation index does not generate the same result (Jean noticed that), and I can add the detail that the same modulating signal/waveform generate different results too. For example, a triangular wave modulating the phase is the same as a square wave modulating the frequency. So, they're quite different. >>>> >>>> In terms of sine waves, what we've been doing so far, if you modulate the phase with a sine wave, you need to modulate the frequency with a cosine wave. >>>> >>>> Like I pointed before, if you're going for a phase modulation implementation, you should just modulate the phase instead of trying to replicate it via frequency modulation, cause it's just more convenient to do directly via phase modulation if you want it to behave like that. >>>> >>>> And that not

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Re: [chuck-users] phase modulation and hard sync?
by mario.buoninfante 05 Jun '17

05 Jun '17

Hi Alexandre, No worries, I know it's not a challange ;) . Btw for sure, what I tried to say wasn't clear. The implementation I sent you is a Phase Modulation, not a Frequency Modulation. You can have a PM also if you don't use SinOsc with sync(2), you're still changing the phase and not the frequency using my ChucK program. The last thing, the example you sent before, with a Phasor controlling the phase, also in that case ModInd doesn't need any 2pi, cause when you said the phase in SinOsc is normalized (from 0 to 1), it means there is a 2pi in there. But it's ok, if I get it right, you simply wanna have PM with that specific configuration, Phasor and SinOsc with sync(2). Cheers, Mario Sent from my Wiko ROBBYOn Jun 4, 2017 22:44, Alexandre Torres Porres <porres(a)gmail.com> wrote: > > 2017-06-04 13:59 GMT-03:00 mario.buoninfante <mario.buoninfante(a)gmail.com>: >> >> Now 2pi is needed only if you deal with a ramp, with a phasor. Cause Phasor*2pi gives you a sine. If you already have a sine there is no need to use 2pi. > > Hi, let me try to be clearer. Phasor * 2pi going through a sine function gives you a sine wave. SinOsc can also be drive by a Phasor. Such as this. > > Phasor p => SinOsc osc => dac; > > 440 => p.freq; > > 1 => osc.sync; > > 4::second => now; > > > In this case, you get a sine wave and you don't need to multiply the phasor by 2pi, because the input is normalized, from 0-1 > > > What I was trying to say is that if you have a modulating index in phase modulation, and you want to replicate it in frequency modulation, you alsop need to multiply it by 2pi. > > I'm not challenging the math or equations, just adding an implementation detail in Chuck code. I know I wasn't clear about it, sorry. Hope it's clear now. > > But my main point was something else. It is true that if you multiply the index value by the modulation frequency value, such as in your code, you sort of get a similar behaviour than you'd get with phase modulation. But there's another detail missing if you're to really convert it. > > One thing about this conversion is that the waveform/function of the modulation signal needs to also be adjusted. In terms of sine waves, if you have the phase signal being modulated by a sine wave, you need to modulate the frequency with a cosine wave. > > With other waveforms it gets more complicated. By the way, the rule of thumb (multiply the index by the frequency) also changes, that is important to note as well. > > My main point is just that it's just best to implement via phase modulation, if that's the behaviour you want. > > cheers

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Re: [chuck-users] phase modulation and hard sync?
by mario.buoninfante 04 Jun '17

04 Jun '17

Btw this seems to be the best explanation I found around: http://msp.ucsd.edu/techniques/v0.11/book-html/node79.html As you can see, the phase modulation deals with a phasor when this is controlling a wavetable. That means the phasor reads all the points in it. But in our case the table is not visible,cause it can be considered as embedded into SinOsc. Cheers, Mario Sent from my Wiko ROBBYOn Jun 4, 2017 17:20, Alexandre Torres Porres <porres(a)gmail.com> wrote: > > 2pi is already there if you are using a phase input, cause it seems the phase is normalized (0 to 1 instead of 0 - 2pi) in Chuck. > > What I mean is how to implement the same result with both frequency and phase modulation in a Chuck code, using SinOsc. > > All these things have to be adjusted > > But if the phase input wasn't normalized to 0-1, like is the case with SuperCollider, you don't need it. > > cheers > > 2017-06-04 13:09 GMT-03:00 mario.buoninfante <mario.buoninfante(a)gmail.com>: >> >> Hi Alexandre, >> >> In my implementation there's no need to use 2pi. That is required if you're using a phasor (in math terms). In that case you need 2pi to have the angular frequency. But if you're using instead a Sine wave there's no need, cause 2pi is already there. >> Looking at the formula I posted before, the Fm oscillator is the phase parameter, while the Cm is the frequency. You can consider them as an offset (Cm) and an deviation from it (Fm). >> The index mod is equal to Am/Fm, but of course the parameter that you can use with an oscillator is the amplitude (Am), thus from the previous one you have Am = Fm*modInd >> >> Cheers, >> Mario >> >> Sent from my Wiko ROBBY >> >> On Jun 4, 2017 16:39, Alexandre Torres Porres <porres(a)gmail.com> wrote: >>> >>> btw, for adjusting the index, you're just multiplying the frequency to the index, you should also multiply it by 2pi (like Jean found out by accident). >>> >>> >>> 2017-06-04 12:29 GMT-03:00 Alexandre Torres Porres <porres(a)gmail.com>: >>>> >>>> >>>> >>>> 2017-06-04 4:24 GMT-03:00 mario buoninfante <mario.buoninfante(a)gmail.com>: >>>>> >>>>> this is the simplest modulation, that usually is considered as FM, but in the end is a PM. >>>> >>>> Well, as I see it, it should be either FM or PM, it can't be one but in the end is something else. And your code is can only (not usually) be considered FM. >>>> >>>> But it seems you're saying both are related, without getting into details - which is something we've already discussed here, and I've also pointed out (with no details either). But the bottom line is that they're different, and the same input parameters generate different results. Though I've said before the parameters can be "converted"/"adjusted" to sound the same. >>>> >>>> Namely, the same modulation index does not generate the same result (Jean noticed that), and I can add the detail that the same modulating signal/waveform generate different results too. For example, a triangular wave modulating the phase is the same as a square wave modulating the frequency. So, they're quite different. >>>> >>>> In terms of sine waves, what we've been doing so far, if you modulate the phase with a sine wave, you need to modulate the frequency with a cosine wave. >>>> >>>> Like I pointed before, if you're going for a phase modulation implementation, you should just modulate the phase instead of trying to replicate it via frequency modulation, cause it's just more convenient to do directly via phase modulation if you want it to behave like that. >>>> >>>> And that not

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Re: [chuck-users] phase modulation and hard sync?
by mario.buoninfante 04 Jun '17

04 Jun '17

Hi Alexandre, In my implementation there's no need to use 2pi. That is required if you're using a phasor (in math terms). In that case you need 2pi to have the angular frequency. But if you're using instead a Sine wave there's no need, cause 2pi is already there. Looking at the formula I posted before, the Fm oscillator is the phase parameter, while the Cm is the frequency. You can consider them as an offset (Cm) and an deviation from it (Fm). The index mod is equal to Am/Fm, but of course the parameter that you can use with an oscillator is the amplitude (Am), thus from the previous one you have Am = Fm*modInd Cheers, Mario Sent from my Wiko ROBBYOn Jun 4, 2017 16:39, Alexandre Torres Porres <porres(a)gmail.com> wrote: > > btw, for adjusting the index, you're just multiplying the frequency to the index, you should also multiply it by 2pi (like Jean found out by accident). > > > 2017-06-04 12:29 GMT-03:00 Alexandre Torres Porres <porres(a)gmail.com>: >> >> >> >> 2017-06-04 4:24 GMT-03:00 mario buoninfante <mario.buoninfante(a)gmail.com>: >>> >>> this is the simplest modulation, that usually is considered as FM, but in the end is a PM. >> >> Well, as I see it, it should be either FM or PM, it can't be one but in the end is something else. And your code is can only (not usually) be considered FM. >> >> But it seems you're saying both are related, without getting into details - which is something we've already discussed here, and I've also pointed out (with no details either). But the bottom line is that they're different, and the same input parameters generate different results. Though I've said before the parameters can be "converted"/"adjusted" to sound the same. >> >> Namely, the same modulation index does not generate the same result (Jean noticed that), and I can add the detail that the same modulating signal/waveform generate different results too. For example, a triangular wave modulating the phase is the same as a square wave modulating the frequency. So, they're quite different. >> >> In terms of sine waves, what we've been doing so far, if you modulate the phase with a sine wave, you need to modulate the frequency with a cosine wave. >> >> Like I pointed before, if you're going for a phase modulation implementation, you should just modulate the phase instead of trying to replicate it via frequency modulation, cause it's just more convenient to do directly via phase modulation if you want it to behave like that. >> >> And that noted, several FM modules are not actually implemented via frequency modulation, but phase modulation (i.e DX7 and native's instruments FM8). >> >> Anyway, performing FM in Chuck is easy and straightforward, it was never a question. The relationship between FM and PM was known and does not really mean they're both the same thing. >> >> Hence, there's still a need to quest for an easy implementation of phase modulation. >> >> cheers > >

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phase modulation and hard sync?
by Alexandre Torres Porres 04 Jun '17

04 Jun '17

Hi, new to chuck here. Can SinOsc be hard synced by an impulse or something? And how would you do phase modulation with SinOsc? If you cannot do one or both with SinOsc, how would you do it? thanks

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Chuck support for visual components sliders etc
by Ian Dickinson 18 May '17

18 May '17

Hi i qm a complete newbie to chuck and was looking for a way of impkementing a graphical interface for chuck i.e to allow the addition of visual controls say sliders for controlling adsr values etc Thanks Ian Sent from Samsung tablet.

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OscOut string encoding
by Stuart McDonald 18 Apr '17

18 Apr '17

I have a Heath Robinson/Rube Goldberg contraption which has a ChucK program sending an OSC message to a nodejs app which is broadcasting data to a web browser client via web sockets. My problem is that by the time the OSC messages get to nodejs the string "Höckerschwäne" is converted into "HC6ckerschwC$ne". ChucK itself can print non-ascii characters ok so I'm guessing the problem is with OSC itself. The OSC 1.0 spec (http://opensoundcontrol.org/spec-1_0, link to 1.1 spec is dead) suggests ASCII only is supported for strings, although punycode is mentioned on other OSC pages (I tried punycode decoding the strings and they display gibberish). I'm wondering if the artefacts are just 16 bit characters being naively encoded as two separate ascii characters, or something similar. Anyway, I'm asking here in the (perhaps unlikely) event anyone else had been down this road before. I'm getting around the problem by doing some string replacing at the nodejs end: not ideal, but there's I've only got 3 non-ASCII characters in the mix so good enough for now. Cheers Stuart

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apropos jcr paradox
by Juan Reyes 21 Mar '17

21 Mar '17

Hi, Remembering Jean Claude Risset. Just thought I'll share my take on the glissandi paradox. -- Juan Reyes. //* ****************************************************************** //* //* Risset's paradox aka Shepard Tone //* (see Dodge's Elements of CM pp-94-96) //* //* This take Juan Reyes, 03/08/2017 //* //* //* Toggle values: baseFreq and baseDur // sample rate 1::second / 1::samp => float srate; // Function for normal curves to factor amplitude fun float normfn (float x, float d) { return Math.exp(-4.8283*(1-Math.cos(2*Math.PI* (x-((d*srate*0.5)-0.5))/(d*srate)))); } // Toggle values // -------------- 1000.0 => float baseFreq; 3.33 => float baseDur; baseDur*srate => float samples; samples/7.0 => float phaseoffs; // Frequency Factors [0.0, 51.2, 102.4, 153.6, 204.8, 256.0, 307.2, 358.4, 409.6, 460.8] @=> float fqFactors[]; // A bank of sine oscillators SinOsc oscBank[10]; // Gains for oscillator bank Gain gainsArr[10]; // Signal for(0=> int i; i < oscBank.cap(); i++) { baseFreq+fqFactors[i]=> oscBank[i].freq; oscBank[i] => gainsArr[i] => dac; } // Count samples 0.0 => float sx; while( true ) { for (0 => int j; j < oscBank.cap(); j++) { 0.25*normfn((sx+((j+1)*phaseoffs)), baseDur) => gainsArr[j].gain; } if (sx > samples) { 0 => sx; } else { 1 +=> sx; } // advance "1" sample. 1.0::samp => now; }

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execute function on shred exit, or on VM reset or close ?
by ermina＠studioplume.com 06 Mar '17

06 Mar '17

Hi, is there a way to have a user defined function executed when a shred exits ? Something like shutdown hooks in Java. That would be practical to signal some serial devices. cheers, . e

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Open source + musical composition?
by jake danson-faraday 24 Feb '17

24 Feb '17

Hi everyone, Like a lot of people here, I am at least somewhat familiar with a few other open source synthesis programs. Each has its own set of peculiarities, which will shape the work, style, sounds, process, etc. But does being open source count as one of those peculiarities? I would love to know if anyone feels like there is a direct relationship between the music they make with ChucK and the fact that ChucK is open source. Do you compose music differently than you would with a purchased software package? Are your sonic standards higher / lower / unchanged? Are you more / less musically adventurous (what ever that might mean to you)? Are you more / less likely to use sounds from other users? I've seen dozens of threads in various places that develop an idea over the course of several days, including songs, sounds, bigger programming projects. This seems to suggest a unique, open source approach / ethic, at least in the way people communicate about their work. But what about the music itself? I'd be very curious to hear any comments on this! Thanks! jake

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language-chuck package for Atom
by Szilveszter Tóth 19 Feb '17

19 Feb '17

Hello everyone, A new version of the language-chuck syntax highlighting package for the Atom editor has been released. I have also contributed to it, it recognizes all the latest built-in classes (Chugins too) and works pretty well. https://atom.io/packages/language-chuck The only issue I am aware of is that it does not recognize => style one parameter function calls (it highlights them the same as variable assignments). Regards, Hillaby

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2017 CCRMA Summer Workshops
by Romain Michon 12 Feb '17

12 Feb '17

[apologies for cross posting /\ please distribute widely] Greetings, The 2017 CCRMA (Stanford University) summer workshops have been announced. Please, find the detailed schedule below. More information @: https://ccrma.stanford.edu/workshops or by contacting Nette Worthey (networth(a)ccrma.stanford.edu). We look forward to see you there! Cheers, Romain 6/19 - 6/23 *Mobile Synth I - Mobile App Development for Sound Synthesis and Processing in Faust <http://ccrma.stanford.edu/workshops/mobilesynthi-2017>*: Romain Michon 6/19 - 6/23 *Virtual Analog Models of Audio Circuitry <https://ccrma.stanford.edu/workshops/virtualanalogmodeling-2017>*: François Germain, Kurt Werner 6/26 - 6/30 *Mobile Synth II - 3D Printing and Musical Interface Design for Smartphone Augmentation <https://ccrma.stanford.edu/workshops/mobilesynthii-2017>*: Romain Michon and John Granzow 6/26 - 6/30 *Programming Max/MSP <https://ccrma.stanford.edu/workshops/maxmsp-2017>*: Structuring Interactive Software for Digital Arts: Matthew Wright, Christopher Jette 7/3 - 7/7 *Algorithmic Composition with Max/MSP and Open Music <https://ccrma.stanford.edu/workshops/algocomp-2017>*: Andrew Watts, Davor Vincze 7/10 - 7/14 *Electronic Arts Ensemble <https://ccrma.stanford.edu/workshops/eae-2017>*: Constantin Basica, Alex Chechile 7/24 - 7/28 *Music Information Retrieval* <https://ccrma.stanford.edu/workshops/music-information-retrieval-2017>: Steve Tjoa and Jeff Scott, Gracenote 7/31 - 8/4 *Deep Learning for Music Information Retrieval <https://ccrma.stanford.edu/workshops/deepmir-2017>*: Irán Román 8/7 - 8/11 *Formalized Score Control: Using Python and Abjad in Music Composition <https://ccrma.stanford.edu/workshops/abjad-2017>*: Jeff Treviño, Trevor Bača and Josiah Wolf Oberholtzer 8/13 - 8/17 *SuperCollider <https://ccrma.stanford.edu/supercollider-2017>*: Fernando Lopez-Lezcano and Bruno Ruviaro 8/21 - 8/25 *Designing Musical Games: Gaming Musical Design <https://ccrma.stanford.edu/workshops/designingmusicalgames-2017>*: Rob Hamilton and Chris Platz TO BE SCHEDULED: *Perceptual Audio Coding <https://ccrma.stanford.edu/workshops/perceptual-audio-coding-2016>:* Marina Bosi, Richard Goldberg -- Romain Michon PhD Candidate Center for Computer Research in Music and Acoustics Stanford Universityhttp://ccrma.stanford.edu/~rmichon

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Call for Papers: Algorithmic Electronic Dance Music
by Nick Collins 10 Feb '17

10 Feb '17

[apologies for cross posting] CFP: Algorithmic Electronic Dance Music Special edition of Dancecult: Journal of Electronic Dance Music Culture Guest Editors: Shelly Knotts and Nick Collins http://dj.dancecult.net/ Algorithms are at the heart of the virtual studio software applications underwriting so much contemporary dance music, but are normally the prior preserve of music engineering teams rather than musicians. This special issue, however, engages with algorithms as musical material, and especially with music which is inherently founded on computer programming technique. A recent manifestation of this is the algorave, an explicit site of live algorithmic electronic dance music (EDM), produced through such means as on stage computer programming (algorave.com). Creators of EDM have vast amounts of software at their disposal, including specific musical programming languages; modern digital audio workstations now often include the capacity to utilise a programming language, such as Python and Max/MSP embedded within Ableton Live, or Logic’s MIDI Scripter. The history of algorithmic techniques within mainstream and experimental fringe dance music predates the coining of the term algorave (Collins and McLean 2014). Powerful computer music coding environments have been co-opted for use in club contexts, by such well known figures as Autechre (Max/MSP), BT (Csound, Composer’s Desktop Project), Cylob, Aphex Twin (SuperCollider), and Holly Herndon (Chuck), amongst many others. Some artists have written their own software from scratch, such as the generative gabba-techno artists slub, or commissioned others to supply it, as with Coldcut and the VJamm and Coldcutter programs. Research in this area extends from the introduction of new algorithmic techniques for the production of dance music, to the computational analysis of existing EDM, via critical appraisal of algorithms in the wild. Live realtime systems, as well as offline studio software, have been developed. An increasingly algorithmically literate culture will see increasingly algorithmically literate music, and the rise of music-oriented computer programming has great implications for future directions within EDM. (2014) Nick Collins and Alex McLean “Algorave: live performance of algorithmic electronic dance music”. Proceedings of NIME 2014, London // SUGGESTED THEMES // Potential themes for articles include (but are not limited to): - Analysis of the work of algorithmic EDM artists - Computational analysis procedures for EDM - Surveying algorithmic techniques in EDM production - Algorithmic composition projects based on EDM styles - Live coding and EDM - Web browser based dance music systems (e.g., via Flash, HTML5, Web Audio API et al.) - Music Information Retrieval (MIR) systems and EDM content creation - The programming of interactive systems for EDM creation - Music pedagogy through coding of EDM (e.g., Sonic Pi, EarSketch et al.) - Gender, ethnicity and social trends at the crossover of computer music and club culture - Collaborating with and through algorithms; EDM groups of musical programmers - Algorithmic audiovisuals for club performance - Performance and audience reception of Algorithmic EDM // SUBMISSIONS // Feature Articles: Feature Articles will be peer-reviewed and are 6000–9000 words in length (including endnotes, captions and bibliography). For policies, see: https://dj.dancecult.net/index.php/dancecult/about/editorialPolicies#sectio… “From the Floor” Articles: This special edition will also include articles in From the Floor format (750–2500 words), which are very suitable for an artist to critically evaluate their own practice, or an academic to discuss new experiments. This format will be of particular interest to scholars and practitioners who wish to share some of the insights of their work, but are unable to devote the time necessary for a feature-length article. See guidelines at the Section Policies link above. Articles must adhere to all style and formatting rules stipulated in the Dancecult Style Guide (DSG). Download it here: https://dj.dancecult.net/public/journals/24/dancecult_styleguide.pdf Multimedia Submissions: Dancecult encourages authors to complement their written work with audio and visual material. See the DSG for style and formatting requirements. // DATES AND DEADLINES // This special edition is proposed for publication in Dancecult on 1 November 2018. If interested, send a 250-word abstract (along with a one hundred word maximum author biography) to Shelly Knotts (knotts.shelly(a)gmail.com) by 23rd March 2017. If your abstract is accepted, the deadline for submission of a full article draft to the guest editors for their comments is 1 October 2017. Beyond that, the deadline for online submission to Dancecult (for blind peer-review) is 1 February 2018. Please send enquiries and expressions of interest to Shelly Knotts: knotts.shelly(a)gmail.com A PDF version of this call, with live links and editor biographies, is available from: http://composerprogrammer.com/algoraveCFP.pdf

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Re: [chuck-users] ChucK => internet audio stream
by Stuart McDonald 05 Feb '17

05 Feb '17

Ok, so after a lot of fiddling (mostly around making documentation and audio processing work for generic installation) I've gotten chuck => darkice => icecast running in docker on a raspberry pi using ALSA snd-aloop loopback module. Some links: * https://hub.docker.com/r/concretemixer/cm-rpi-internet/ # docker image * https://github.com/concrete-mixer/cm-rpi-docker-internet # git repo for docker image with instructions on installation * https://github.com/concrete-mixer/concrete-mixer # about what you are hearing http://concrete-mixer.venturus.io/concrete-mixer.mp3 # a live implementation (hopefully running; the pi sits dangerously close to my feet). As originally mentioned my original intention was to run this on AWS, but the pi seems to accommodate chuck + darkice + icecast reasonably well (4 processors helps!). Since the setup doesn't rely on sound hardware, there's no reason an AWS machine couldn't run a similar rig. Hopefully this is useful to someone who may want to go down this path in future :). Stuart

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inheritance question
by Voytek Lapinski 23 Jan '17

23 Jan '17

Hi All, Just getting into ChucK and have a language question. I have some base classes which I have written and am struggling with how to get the inheritance to do what I want. I have a class Voice, and a class Polysynth which contains an array of Voices as data, like so: public class Polysynth { { Voice voices[]; // methods which work on the objects in 'voices', // .. } I want to be able to set up a patch which defines (for example) a MySynth_Voice (subclassing Voice) and MySynth (subclassing Polysynth). MySynth objects will thus contain an array of Mysynth_Voice objects. I want to then be able to call methods on MySynth that are defined in Polysynth, that uses the array of MySynth_Voices as data. The problem is, because they are expecting Voice objects, they aren't happy to receive MySynth_Voices instead (even though MySynth_Voice inherits from Voice). I can't cast them in the Polysynth methods that use it because it won't compile unless 'voices' is declared. It has to be declared as 'Voice', and if I try to override it in the subclass (eg. "MySynth_Voice voices[]"), it won't compile saying saying it "has already been defined in super class 'Polysynth'". I tried a bunch of different ways to do this, but the only way I can find to do it was to cast the voices array in the subclass as follows. class MySynth extends Polysynth { fun void init (int num_voices) { MySynth_Voice voices_temp[num_voices]; Voice voices_temp2[num_voices]; for (0=>int i; i < num_voices; i++) { voices_temp[i] $ Voice @=> voices_temp2[i]; } voices_temp2 @=> voices; } } Firstly, is it possible to do this without having to do this casting bit? It seems like a common inheritance set up, so am wondering if I have just missed something. Failing that, is there a better way to do the casting step? I tried to do in obvious ways like 'MySynth_Voice $ Voice[] @=> voices' but that, and other possible permutations I could think of, wouldn't compile. The iterating over the whole array and doing each member explicitly seemed to be the only thing that worked. It's certainly no big deal and I can live with it, but am just curious if there's a nicer way to do it. Thanks all... -voytek

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