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Extended Periodic Lengths (3e= d5 b4 eb5 3e= b4 s cs5 a5 -e -h)

Thanks, Janusz ! Best, Julio

The tie is an attribute applied to an event, not to a length or pitch in isolation. OMN provides numerous methods for manipulating any of the four components within a sequence of events. It is rather difficult to conceive of a composition consisting solely of a series of identical single-event elements. If it is necessary to preserve the original note durations for subsequent processes, one may simply flatten the OMN sequence and extract the lengths. Preserving the time signature at this stage is not essential, as time signatures may be applied to OMN events at any point during the compositional process.

Dear Team, I noticed that the omn-to-time-signature, when used with length-only material is not returning the same rhythms. The rhythms are missing the ties when used with lengths only. With pitch + length materials looks to be ok. I used to think that this function would return the same rhythms, but just adjusted to a new sequence of time-signatures. Best, Julio (setf rh-1 '(-dd h c7 p eb6 mp p - c7 q e6 - h_e g6 e mf bb5 mp -h.. q bb6 p -h. q. d6 e c4 -h.. q bb3 mf e g6 mp h_e e6 -h e g5 h a6 -e = h bb4 e6 p q bb6 mp e6 e g3 g6 p q. g3 e bb3 bb6 mp q g6 pp e c7 mp eb4 p)) (omn-to-time-signature rh-1 '(2 4)) result (with ties) ((-h) (-h) (-h) (-h) (-h) (-h) (-h) (-h) (h c7 p) (h eb6 mp) (h eb6 p) (-h) (h c7) (q e6 -) (h g6 tie) (e g6 g6 mf bb5 mp -) (-h) (-q bb6 p) (-h) (-q d6 tie) (e d6 c4 -q) (-h) (-e q bb3 mf e g6 mp) (h e6 tie) (e e6 -q.) (-e g5 q a6 tie) (q a6 -e a6) (h bb4) (h e6 p) (q bb6 mp e6) (e g3 g6 p q g3 tie) (e g3 bb3 bb6 mp g6 pp tie) (e g6 pp c7 mp eb4 p)) (setf rh-1 '(-dd h c7 p eb6 mp p - c7 q e6 - h_e g6 e mf bb5 mp -h.. q bb6 p -h. q. d6 e c4 -h.. q bb3 mf e g6 mp h_e e6 -h e g5 h a6 -e = h bb4 e6 p q bb6 mp e6 e g3 g6 p q. g3 e bb3 bb6 mp q g6 pp e c7 mp eb4 p)) (omn-to-time-signature (omn :length rh-1) '(2 4)) result (NO ties) ((-1/2) (-1/2) (-1/2) (-1/2) (-1/2) (-1/2) (-1/2) (-1/2) (1/2) (1/2) (1/2) (-1/2) (1/2) (1/4 -1/4) (1/2) (1/8 1/8 1/8 -1/8) (-1/2) (-1/4 1/4) (-1/2) (-1/4 1/4) (1/8 1/8 -1/4) (-1/2) (-1/8 1/4 1/8) (1/2) (1/8 -3/8) (-1/8 1/8 1/4) (1/4 -1/8 1/8) (1/2) (1/2) (1/4 1/4) (1/8 1/8 1/4) (1/8 1/8 1/8 1/8) (1/8 1/8 1/8))

Or '(3q d5 3e b4 eb5 3q b4 s cs5 a5 -e -h)Jesper

Ah that works, thanks much!

I asked this a year or two ago but I think it would be nice to be able to host basic AU and/or VST plugins for sound generation directly in OM. An example of this, that I have been using in standalone mode is RapidComposer. Rapid Composer Overall it's a basic version of OM with a more extensive GUI. It does however, host VST's making it very convenient to write in one environment without having to route midi and saving multiple documents per Project. per the OMN docs: "Wouldn’t it be good to be able to do everything in one place?" Yes please.

Maybe this ? (3e_3e d5 3e b4 3e eb5 3e_3e b4 s cs5 a5 -e -h)

I have a simple question. In the attached pic, how do I write the two 16th note triplets in OM notation? I'm not sure how to write it if one of the notes is an 8th note like in the example ( something like '(3e d5 b4) )?

I have the same question and/or feature request if this is not possible. Also, add to that the ability to navigate tabs if we're talking one window?

Yes, but there is nothing to be shaped when the map contain only 1 (same) value. The map list values will not change, they will follow the given data. (setf map '(1 2 3 4 5 6)) (setf vec (half-sine 50 1)) (setf vec-lenmap1 (vector-map map vec)) => (1 1 2 2 2 3 3 3 3 4 4 4 4 5 5 5 5 5 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 5 5 5 5 5 4 4 4 4 3 3 3 3 2 2 2 1) How vector-map works? ChatGPT said:The function VECTOR-MAP in Opusmodus is used to map a list of continuous floating-point numbers (e.g. generated noise) to a discrete set of items, such as pitches, rhythms, dynamics, or other symbolic values. Function Signature(VECTOR-MAP map data) Argumentsmap: A list of symbolic items (e.g., pitches, rhythm values, dynamics). data: A list or vector of floating-point numbers, often generated by functions like GEN-NOISE. DescriptionVECTOR-MAP translates each number in the data list to an index in the map list. Internally, the numbers are likely normalized and converted to indices into the map, allowing stochastic or algorithmically generated numerical sequences to be "translated" into musical materials. Example Usages(vector-map '(c4 d4 e4 g4 a4) (gen-noise 10)) ;; => (g4 e4 c4 c4 d4 e4 a4 d4 d4 a4) (vector-map '(mp mf mp mf) (gen-noise 10)) ;; => (mf mp mf mf mp mf mf mf mp mf) (vector-map '(1/16 1/16 -1/16 1/16) (gen-noise 10)) ;; => (1/16 1/16 -1/16 1/16 1/16 1/16 -1/16 1/16 1/16 1/16) You can also map multiple noise streams simultaneously: (vector-map '((1/16 1/16 -1/16 1/16)) (list (gen-noise 10 :seed 23) (gen-ar-time-series 10 '(-0.75) 0.5 :seed 23) (gen-gaussian-noise 9 :seed 23) (gen-noise 10 :type :double-exponential :seed 23))) This makes VECTOR-MAP especially useful for algorithmic composition where musical materials are derived from statistical or chaotic data sources.

Thank you very much for this exclusive hint :-) - but I want to know how vector-map works and Opusmodus GPT was not helpful. In my understanding vector-map should shape the uniform list according to the half-sine?

This dose not make any sence: (setf lenmap1 '(q q q q q q q q q q q q q q q q)) (setf vec (half-sine 50 1)) (setf vec-lenmap1 (vector-map lenmap1 vec)) You could simply do: (gen-repeat 50 '(q))Please check the vector-map documentation.

Hi all, I tried to answer the question in the title with Opusmodus GPT (see attached file). (setf lenmap1 '(q q q q q q q q q q q q q q q q)) (setf vec (half-sine 50 1)) (setf vec-lenmap1 (vector-map lenmap1 vec)) Can anybody explain, why I get only 50 quarters instead of 16 respectively how vector-map really works mathematically? Thanks and greetings, Achim vector-halfsine.md

Is there any way to unify all the views ( composer, assistant, notation ) into 1 window? I like the way Supercollider does their IDE, one window with re-sizable views and the documentation on the right side. I use the MS Windows version of OM mostly and when I open it, it doesn't seem to remember how I had the windows arranged during my last session, so have to open everything up and manually size all the windows each time I open OM. Is there some sort of Save Session I'm not aware of where OM would remember how you had the windows arranged/sized previously ( e.g. composer, assistant, notation etc. )? That sure would save some time.

Ok thank you. I followed the above advice and setup 2 windows and moved the panels where I wanted so we're all sorted.

Looks like the old setup is in use. 1. Quit OM. 2. Go to ~/Library/Caches directory and delete the com.opusmodus.Opusmodus folder. If you followed the instructions sent with the license key, you shouldn’t have any other problems.

Well that was next question having upgraded from OM 1 to 3. Found myself a bit disoriented as everything was in one tabbed window. When triggering midi playback, a tab pops up with the notation and covers the composition. Not sure this is better or not. Most of the video examples are from the previous behavior. Is there any documentation on best practices with the "new" layouts, for instance is there a way to navigate tabs? Also the pdf documents display at an absurd zoom level and I can't figure out how to scale them?

Thanks for that terminal command, I thought I was going crazy...

Ah thanks much!

You can do the same in VEP with Spitfire plugin.

Great thanks! I've only used BBCSO within a DAW. Do you have to have the Spitfire plugin open in a DAW for this to work or is there some other standalone Spitfire player you need to have running? With my VSL soundsets, I set up the instruments in Vienna Ensemble to get the instruments loaded, so wondering if there's an equivalent method for Spitfire stuff.

Yes, here's my personal BBSCO Soundset. BBCSO.lisp

Does anybody happen to have an OM soundset for Spitfire BBCSO?

Yes, I have a disklavier and as an interface a RME-Fireface 802 and I have for the use with ps a setup like this: Port 1 is the name of the Fireface as you can see in the screenshot of the Audio-MIDI-Setup, the attached "disklavier.opmo" file lives in the Def-Instrument-Sets folder and I call the disklavier with 'disk in ps. hth ole Disklavier.opmo