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Andy

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  1. reaction_title_2
    Andy got a reaction from Yuichi Yamamoto in Quantization   
    Wow just saw this. Great performance, great piece, congratulations Yuichi.
     
  2. reaction_title_1
    Andy got a reaction from opmo in the new Def-Instruments errors..SOLVED   
    So I'm very happy to be exploring new snippet structure but cannot seem to define my own instrument, based on the example in the help file I did this but get errors:
     
    SOLVED: I had to Evaluate my Def-Inst before it would play..
  3. reaction_title_2
    Andy got a reaction from opmo in Snippets got an upgrade!   
    Wow this really is a huge deal for me. We can now have snippets as mini scores before we compile. Key sigs, time sigs, tempo and instrument defs all in a snippet. And multiple voices too. Thanks Janusz.
     
    5 hours later. So this is a major change it seems to me and very useful. The whole workflow has had a boost. This, amongst other things, allows the creation of snippet libraries with granular control over the visual and functional aspects of the snippets. An ideas library is here. Of course it was possible before with mutiple .opmo files and def scores but this is much more useful (and convenient). I can have one .opmo file with a hundred snippets in it, all with different instruments and with correct notation and functionality and individual tempi.
     
    As a recent arrival to OpM I do remember my first reaction was ...Preference>Audition>...and then set a static set of preferences for playback?....this just felt limiting to be honest. Then I quickly realised that this was just a temporary thing and def-score was the way to define playback..and still is. But the Preference>Audition set up can effectively be ignored if one wishes now and Snippets are free! Good stuff.
     
  4. reaction_title_1
    Andy got a reaction from hujairi in Using Nigel's Book   
    I just wanted to say that as a newcomer to parametric composition and Opusmodus, Nigel's book has been so helpful. I have it as a pdf in the Utilities section of Opusmodus and work through a chapter a day and copy and paste his code directly into the Composer. 
    I know Nigel wrote the tutorials, but his book sets a wider context which I have found very helpful in this beginning stage.
    Recommended!
  5. reaction_title_2
    Andy got a reaction from JulioHerrlein in The learning curve..thoughts   
    For me, this is a much easier journey than Max/MSP or ACToolbox or Kyma or PWGL or ...in fact any program for composition where there is a bunch of boxes, wires and annoying graphics! The idea of boxes and graphics..the visual paradigm, is it is meant to make it easier somehow.. but I now realise the reverse is true.
    If you are just dealing with text and traditional music notation as in OM,  it's really very straight forward. There is a learning 'bump' initially but then it really starts to make sense.
    I got so annoyed at Max going from 4 to 5 to 6 to 7 and the ridiculous changes in the GUI that meant I had to relearn the program every time. It was all about them. I feel Opusmodus is all about me. And that's quite a unique experience. And actually the real effort visually in Opusmodus has been put in to functionality, the IDE, which to be honest is totally unique. Thanks.
    Onward and upward. (with a few backwards I'm sure)
     
     
  6. reaction_title_1
    Andy got a reaction from ydepps in The learning curve..thoughts   
    It's quite a feeling this Opusmodus thing.
     
    Stephen I have a website so maybe I'll do a 'post' there.
  7. reaction_title_1
    Andy got a reaction from ydepps in The learning curve..thoughts   
    For me, this is a much easier journey than Max/MSP or ACToolbox or Kyma or PWGL or ...in fact any program for composition where there is a bunch of boxes, wires and annoying graphics! The idea of boxes and graphics..the visual paradigm, is it is meant to make it easier somehow.. but I now realise the reverse is true.
    If you are just dealing with text and traditional music notation as in OM,  it's really very straight forward. There is a learning 'bump' initially but then it really starts to make sense.
    I got so annoyed at Max going from 4 to 5 to 6 to 7 and the ridiculous changes in the GUI that meant I had to relearn the program every time. It was all about them. I feel Opusmodus is all about me. And that's quite a unique experience. And actually the real effort visually in Opusmodus has been put in to functionality, the IDE, which to be honest is totally unique. Thanks.
    Onward and upward. (with a few backwards I'm sure)
     
     
  8. reaction_title_1
    Andy got a reaction from opmo in The learning curve..thoughts   
    It's quite a feeling this Opusmodus thing.
     
    Stephen I have a website so maybe I'll do a 'post' there.
  9. reaction_title_2
    Andy got a reaction from Stephane Boussuge in The learning curve..thoughts   
    For me, this is a much easier journey than Max/MSP or ACToolbox or Kyma or PWGL or ...in fact any program for composition where there is a bunch of boxes, wires and annoying graphics! The idea of boxes and graphics..the visual paradigm, is it is meant to make it easier somehow.. but I now realise the reverse is true.
    If you are just dealing with text and traditional music notation as in OM,  it's really very straight forward. There is a learning 'bump' initially but then it really starts to make sense.
    I got so annoyed at Max going from 4 to 5 to 6 to 7 and the ridiculous changes in the GUI that meant I had to relearn the program every time. It was all about them. I feel Opusmodus is all about me. And that's quite a unique experience. And actually the real effort visually in Opusmodus has been put in to functionality, the IDE, which to be honest is totally unique. Thanks.
    Onward and upward. (with a few backwards I'm sure)
     
     
  10. reaction_title_1
    Andy got a reaction from AM in The learning curve..thoughts   
    For me, this is a much easier journey than Max/MSP or ACToolbox or Kyma or PWGL or ...in fact any program for composition where there is a bunch of boxes, wires and annoying graphics! The idea of boxes and graphics..the visual paradigm, is it is meant to make it easier somehow.. but I now realise the reverse is true.
    If you are just dealing with text and traditional music notation as in OM,  it's really very straight forward. There is a learning 'bump' initially but then it really starts to make sense.
    I got so annoyed at Max going from 4 to 5 to 6 to 7 and the ridiculous changes in the GUI that meant I had to relearn the program every time. It was all about them. I feel Opusmodus is all about me. And that's quite a unique experience. And actually the real effort visually in Opusmodus has been put in to functionality, the IDE, which to be honest is totally unique. Thanks.
    Onward and upward. (with a few backwards I'm sure)
     
     
  11. reaction_title_2
    Andy got a reaction from opmo in The learning curve..thoughts   
    For me, this is a much easier journey than Max/MSP or ACToolbox or Kyma or PWGL or ...in fact any program for composition where there is a bunch of boxes, wires and annoying graphics! The idea of boxes and graphics..the visual paradigm, is it is meant to make it easier somehow.. but I now realise the reverse is true.
    If you are just dealing with text and traditional music notation as in OM,  it's really very straight forward. There is a learning 'bump' initially but then it really starts to make sense.
    I got so annoyed at Max going from 4 to 5 to 6 to 7 and the ridiculous changes in the GUI that meant I had to relearn the program every time. It was all about them. I feel Opusmodus is all about me. And that's quite a unique experience. And actually the real effort visually in Opusmodus has been put in to functionality, the IDE, which to be honest is totally unique. Thanks.
    Onward and upward. (with a few backwards I'm sure)
     
     
  12. reaction_title_1
    Andy got a reaction from lviklund in The learning curve..thoughts   
    For me, this is a much easier journey than Max/MSP or ACToolbox or Kyma or PWGL or ...in fact any program for composition where there is a bunch of boxes, wires and annoying graphics! The idea of boxes and graphics..the visual paradigm, is it is meant to make it easier somehow.. but I now realise the reverse is true.
    If you are just dealing with text and traditional music notation as in OM,  it's really very straight forward. There is a learning 'bump' initially but then it really starts to make sense.
    I got so annoyed at Max going from 4 to 5 to 6 to 7 and the ridiculous changes in the GUI that meant I had to relearn the program every time. It was all about them. I feel Opusmodus is all about me. And that's quite a unique experience. And actually the real effort visually in Opusmodus has been put in to functionality, the IDE, which to be honest is totally unique. Thanks.
    Onward and upward. (with a few backwards I'm sure)
     
     
  13. reaction_title_1
    Andy got a reaction from Stephane Boussuge in Using Nigel's Book   
    I just wanted to say that as a newcomer to parametric composition and Opusmodus, Nigel's book has been so helpful. I have it as a pdf in the Utilities section of Opusmodus and work through a chapter a day and copy and paste his code directly into the Composer. 
    I know Nigel wrote the tutorials, but his book sets a wider context which I have found very helpful in this beginning stage.
    Recommended!
  14. reaction_title_1
    Andy got a reaction from lviklund in Using Nigel's Book   
    I just wanted to say that as a newcomer to parametric composition and Opusmodus, Nigel's book has been so helpful. I have it as a pdf in the Utilities section of Opusmodus and work through a chapter a day and copy and paste his code directly into the Composer. 
    I know Nigel wrote the tutorials, but his book sets a wider context which I have found very helpful in this beginning stage.
    Recommended!
  15. reaction_title_1
    Andy reacted to opmo in Using Nigel's Book   
    indeed, it is a great introduction to parametric composition. Nigel started working on this book at the time we were working on Opusmodus documentation. It makes me very happy to hear his work is appreciated by so many, He was a great supporter and teacher of algorithmic composition which has spread over many decades. We all miss him dearly.

    Note:
    There are a few changes to some of the Opusmodus function names since the release of Nigel's book. Some of the examples might end in error.
  16. reaction_title_1
    Andy got a reaction from opmo in Using Nigel's Book   
    I just wanted to say that as a newcomer to parametric composition and Opusmodus, Nigel's book has been so helpful. I have it as a pdf in the Utilities section of Opusmodus and work through a chapter a day and copy and paste his code directly into the Composer. 
    I know Nigel wrote the tutorials, but his book sets a wider context which I have found very helpful in this beginning stage.
    Recommended!
  17. reaction_title_1
    Andy got a reaction from Stephane Boussuge in IDE..powerful stuff   
    So I didn't really know what an IDE was..it's an Integrated Development Environment..is that right?
    Well anyhow I just wanted to share my enthusiasm for Opusmodus' idea of an integrated workspace...being able to have pdf books available full screen with a shortcut is amazing...and pictures and audio etc. I am a big fan of Wooden Books for instance and bam..there they are in my composing space for reference. 
    I'm kind of thinking this is how all "composing" software should be..but mostly now it seems to me to be about a graphical interface that is irrelevant alongside a multitrack recorder paradigm.
     
    Anyhow happy to be on this journey (())
     
  18. reaction_title_1
    Andy got a reaction from torstenanders in IDE..powerful stuff   
    So I didn't really know what an IDE was..it's an Integrated Development Environment..is that right?
    Well anyhow I just wanted to share my enthusiasm for Opusmodus' idea of an integrated workspace...being able to have pdf books available full screen with a shortcut is amazing...and pictures and audio etc. I am a big fan of Wooden Books for instance and bam..there they are in my composing space for reference. 
    I'm kind of thinking this is how all "composing" software should be..but mostly now it seems to me to be about a graphical interface that is irrelevant alongside a multitrack recorder paradigm.
     
    Anyhow happy to be on this journey (())
     
  19. reaction_title_1
    Andy got a reaction from lviklund in IDE..powerful stuff   
    So I didn't really know what an IDE was..it's an Integrated Development Environment..is that right?
    Well anyhow I just wanted to share my enthusiasm for Opusmodus' idea of an integrated workspace...being able to have pdf books available full screen with a shortcut is amazing...and pictures and audio etc. I am a big fan of Wooden Books for instance and bam..there they are in my composing space for reference. 
    I'm kind of thinking this is how all "composing" software should be..but mostly now it seems to me to be about a graphical interface that is irrelevant alongside a multitrack recorder paradigm.
     
    Anyhow happy to be on this journey (())
     
  20. reaction_title_2
    Andy got a reaction from opmo in IDE..powerful stuff   
    So I didn't really know what an IDE was..it's an Integrated Development Environment..is that right?
    Well anyhow I just wanted to share my enthusiasm for Opusmodus' idea of an integrated workspace...being able to have pdf books available full screen with a shortcut is amazing...and pictures and audio etc. I am a big fan of Wooden Books for instance and bam..there they are in my composing space for reference. 
    I'm kind of thinking this is how all "composing" software should be..but mostly now it seems to me to be about a graphical interface that is irrelevant alongside a multitrack recorder paradigm.
     
    Anyhow happy to be on this journey (())
     
  21. reaction_title_2
    Andy reacted to JulioHerrlein in Help with seed and semi-colons   
    I think the best idea is to test musical ideias from annotated scores. Here are an example of a parametric composition  with  step by step decisions documented. Hope it can help you. 
    The Nigel Morgan book is also very useful as well as the tutoriais by Janusz  here in the fórum. 
    The best is read the book testing the code in Opusmodus at the same time. 
    Best Julio 
  22. reaction_title_2
    Andy reacted to opmo in Help with seed and semi-colons   
    The best way to progress quickly is to test and play with each of the examples in the 'How To' section which you will find in Utilities.
    You will see the omn form expression (scoring like on paper) and some simple self explanatory algorithms.
    Examine the input and output in the Listener.
    Snippet will help as well.
  23. reaction_title_2
    Andy reacted to torstenanders in Help with seed and semi-colons   
    > but (((((((  ))))))))) drives me nuts!
     
    Actually, the editor helps you there. Just place the cursor directly before an opening or after a closing parenthesis, and the matching parenthesis is shown.
     
    Now, I am probably biased after using Lisp for quite some time, but I actually appreciate this simple syntax. I also programmed in various other languages, and I meanwhile prefer the Lisp syntax...
     
    Best,
    Torsten
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