AM

i do it like that... greetings andré

in german... https://www.amazon.de/Programmieren-COMMON-LISP-Otto-Mayer/dp/3860257102 (but without LOOP) https://www.tutorialspoint.com/lisp/index.htm https://lisptips.com https://www.youtube.com/channel/UCMV8p6Lb-bd6UZtTc_QD4zA

you're welcome!! i think for specific solutions it helps a lot to learn some LISP-basics (loops/conditionals/car/cons/...), then you have the possibility to make your own additional functions/libraries in OPMO. and OPMO is really great for such things!! greetings andré

like that..?... some code... greetings andré (defun replace-velocities-in-a-seq (omn-list &key pitch velocity-list) (flatten (loop with cnt = 0 for i in (single-events omn-list) when (equal (cadr i) pitch) collect (omn-replace :velocity (nth cnt velocity-list) i) and do (incf cnt) else collect i when (> cnt (length velocity-list)) do (setf cnt 0)))) (replace-velocities-in-a-seq '(e c4 ppppp d4 d4 e4 f4 d4 d4 g4 b4 d4 d4 d4 d4) :pitch 'd4 :velocity-list '(p mp mf f ff)) ;=> (e c4 ppppp e d4 p e d4 mp e e4 ppppp e f4 ppppp e d4 mf e d4 f e g4 ppppp e b4 ppppp e d4 ff e d4 ppppp e d4 p e d4 mp) ;; if there are more 'd4's then velocity-values, -> it starts again with first velocity-value (= cycle)

okay, then it seems to be a AUDULUS- or MOD-SYNTH-"problem". (audulus is only for simulation, real mod-synth for live) thanks!

dear janusz at the moment i'm working with AUDULUS 3 and OPMO, work's fine. but there are some problems with the articulation. is it possible that in ord. there is a little "overlapping" between two notes? in this case AUDULUS don't "recognize" a change of velocity etc... with stacc it works fine (but with a gap). is there a "non-overlapping"-articulation with almost no gap between the notes? thanks andré

(setf scale '(c4 d4 e4 f4 g4 a4)) (setf scale (omn-replace :length 'e scale)) ;; or (make-omn :pitch '(c4 d4 e4 f4 g4 a4) :length '(e q e e s t))

you could use LENGTH-MODIFY "LENGTH-MODIFY will modify a series of lengths by adding, subtracting, multiplying or dividing them with a list of duration values. If the count argument is not given to LENGTH-MODIFY then the count is chosen at random."

for my needs it's not necessary to use opusmodus in MAX. for me it's just easier to code LISP then in other languages (i need no library) i will not do algorithmic comp... there, i will simply manage my "real-time/virtual-conducting/modular-form THING" from the POLYTEMPO-NETWORK in ONE language (lisp)... (i also found a solution for me without MAX, lisp only. a bit steam-punky, but works will be my next ensemble piece) thanx to you! andré

i received the following message from julien vincenot for maxmsp+lisp greetings andré

it could work like this... because of the RANGE of the "chromatic mapping of your gen-sin", you have to set :root d3, otherwise you will get pitches like "a-1", which is not possible. so you have to shift your root to d3. (tonality-map '(phrygian :root d3) pitchvec) i never used <tonality-map> before, i just read the documentation of the function - so it's quiet simple greetings andré

you could do it like this, check the function TONALITY-MAP (pitch-transpose 2 (tonality-map '(phrygian :map step) pitchvec)) but mapping on (other) tonalities could be musically a bit tricky - perhaps you have to "eliminate some pitch repetitions" (has to do with quantification), or sometimes you have some troubles with the ambitus (that's the reason why i added <pitch-transpose>)... but perhaps there are some other solutions...? greetings andré

a speculation... example 1: because the SUM is 0!! so it will never go up to 'e6 example 2: sum is 1, it will work

;;; ...an idea ;;; how to import some TEXT and translate it to integer-sequences to use this data ;;; for LIVE-CODING. also possible without .txt, but i tried to IMPORT it. perhaps ;;; in your live-coding session a friend of you is writing the text in a different ;;; location and you could share it (the path) via CLOUD :-D ;;; i know, this kind of data... is not very smart, but a little bit steam-punky :-) (defparameter *map-integer1* '(((a à á â ã ä å æ ą) 0) (b 1) ((c ç ć) 2) (d 3) ((e è é ê ë ę) 4) (f 5) (g 6) (h 7) ((i ì î ï) 8) (j 9) (k 10) ((l ł) 11) (m 12) ((n ñ ń) 13) ((o ò ó ô õ ö) 14) (p 15) (q 16) (r 17) ((s ś ß) 18) (t 19) ((u ù ú û ü) 20) (v 21) (w 22) (x 23) ((y ý ÿ) 24) ((z ż ź) 25))) ;;; 1) open/write a .txt-file ;;; 2) define your path (inside the loop) ;;; 3) start the loop ;;; 4) write/change your .txt, and SAVE it ;;; => every 2 seconds it will be read by the code (loop repeat 60 do (progn (print (progn (setf x (string-to-list (let ((in (open "/Users/meierandre/Desktop/test.txt"))) ;; use your own path!! (read-line in)))) (text-map *map-integer1* (loop for i in x append (explode i))))) (print x)) do (sleep 2)) ;;; every 2 seconds the loop is reading your .txt, change variable x and PRINT it for this example i used PRINT (so you see what is happening), but you could also "rewrite" a variable inside your sound-live-coding-CODE/FUNCTION Bildschirmvideo aufnehmen 2019-11-02 um 23.16.58.mov

> We have started work on microtonality

good approaches, thank you!!

LISP... any solution? i want to DIVIDE a seq into sublists -> when it's asc into a list, "rest" into single-listed values - thanx a lot for some help ;;; input (divide* '(14 12 3 13 15 8 4 10 17 2 16 0 1 6 7 5 11 9)) ;;; output => ((14) (12) (3 13 15) (8) (4 10 17) (2 16) (0 1 6 7) (5 11) (9))

thank you!

thanks, torsten! i know hanspeter kyburz (i almost studied with him - and because of him i started working with algorithms) and i know some of his works (CELLS / PARTS / ....). if you have the article of ERES HOLZ as pdf, would be nice (the link seems to be dead)... only some short thoughts - not on an scientific research level isn't it - in general - a question about complexity and information? and complexity/information changes when you are changing/crossing the MEDIA. that means: from algorithms/code/mathematics to sound/music or visuals... also the complexity itself changes, it's like transforming... "the complexities" are different - the manifestation of it. so it's quite simple - and you feel so important and intelligent and "arty" - when you TAKE a really advanced mathematical/algorithmic grammar/process as a TOOL, ...but in accoustic perception the result could be quite "noise", because the musical complexity is different and depends - in my opinion - a lot on "how you map these things", on which musical parameters and objects, in which dimensions... of course, it's also interesting to use such things - like algorithms - in a way of "creative misunderstanding" (as i think ferneyhough once mentioned in different context), but we should be aware of the GAPS: algorithmic complexity - effective complexity. what do you think? greetings andré HEINZ VON FöRSTER had some really good thoughts on such things - in an abstract way... here is an article.... disorder:order.pdf and an article from DAVID GALANTER... Galanter_2003_What is Generative Art Complexity theory as a context for art theory.pdf

thanks! a. p.s. ... that's why i have some other solutions for my needs...

thank you, torsten! (at the moment, I'm thinking about what the GAP is between visual visual l-systems (images, you see the whole "gestalt") and acoustic ones (which more has to do with the PROCESS in time, musical grammar...). the handling / perception / .... is a completely different one)

my colleagues from the computermusic laboratory advised me not to steer external things via internal SLEEP, but also to control the TIME / delay via OSC. perhaps also has to do with the fact that for me different things must be controlled in parallel and synchronized. i don't know...

the NUMBER is precise, but ... ...but the great thing is, you are very flexible (and open) in OPMO/lisp... and you can trigger also other software/externals from OPMO/lisp via OSC, i LOVE IT

but SLEEP is not very precise - would be nic to have in OPMO a real precise trigger, like with OSC (for external players...)

it's not necessary for me, just an idea