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Found 14 results

  1. The function LENGTH-DIVIDE and friends are a useful device for introducing some rhythmic variation to some material. However, when the processed sequence is a full OMN expression (see example below), then the added notes cause all other parameters to shift forward (additional parameters are added at the end by looping). For introducing only a slight variation to some existing material (e.g., motif) these functions are therefore not so useful, because this shift of all parameters to basically "fill" the new added notes with pitches etc. greatly change the varied material for a listener. (le
  2. Is there perhaps any way to switch off all those trace prints created by very many Opusmodus functions. Here is an example: I want to get rid of printout(s) before the actual result. OM> (pitch-transpose 2 '(q c4)) pitch-transpose, transpose: 2 ambitus: PIANO section: NIL exclude: NIL (Q D4) These constant traces are problematic for me, because in all those prints I very easily miss printouts that are particularly important (e.g., warnings from some functions). I am aware of the Opusmodus function do-verbose. I would very much like to avoid adding do-verbose to my own f
  3. Some attributes are sticky (they do not need to be repeated to maintain being set, and when they are repeated they are not shown again in the score) -- while others are not. For example, the articulation pizz is sticky, while stacc is not. It seems that add-text-attributes declares only sticky attributes. Is it perhaps possible to also have custom non-sticky attributes? For example, want to annotate certain motif or phrase names, and if I repeat the same motif the text label is not shown again. Just in case this is already possible... Thank you!
  4. The upcoming release will allow you to open display-midi, display-musicxml, graphs and snippets in a separate window. For any of you using second monitor this will be great addition to your work flow. Examples: (display-midi 'score :display :window) (display-musicxml 'score :display :window) Best, Janusz
  5. In Lesson 4, it is statet that "You can see the LENGTH-WEIGHT replaces previously 'sounding' lengths with rest-lengths throughout the stream of pitches. " But actually Length-Weight INSERTS rests. Sounding pitches are not replaced, but shiftet. Is that correct?
  6. Is there built-in functionality to sort a chord-progression using the top note? The following example uses the bottom note: (sort-asc '(a2a3 a2a4 a2e4))
  7. It would ve great to have the :port and :channel in the make-omn function. Sometimes is interesting for hearing snippets with different sounds without having to compile the entire score (sometimes it take a while,depending on the complexity of the score). The port would help to deal with vst adresses and libraries on auditioning. Best !
  8. I am working on a new omn symbol VOICES and wonder which way is more natural to write. I would like to hear your comments and ideas on this. Here are the two examples. With symbol :vx 1) Each voice after each event, next to each other (1 bar 4/4): symbol option :vx (:v1 q cs5 ff :v2 q gs4 ff :v3 q f4 ff :v4 q f3 ff :v1 q eb5 ff :v2 q gs4 ff :v3 q c4 ff :v4 q gs3 ff :v1 q cs5 ff :v2 q gs4 ff :v3 q f4 ff :v4 q cs3 ff :v1 q f5 ff :v2 q cs5 ff :v3 q gs4 ff :v4 q cs3 ff) symbol option :x (:1 q cs5 ff :2 q gs4 ff :3 q f4 ff :4 q f3 ff :1 q eb5 ff :2 q g
  9. Is it possible to have a key signature with a snippet? Thanks
  10. Is there a way to pop out a window? I have a dual monitor setup and would like to take advantage of it. Thanks
  11. Dear All I'm studying some 4-note cells for Coltrane like jazz patterns from a video lesson of saxophonist Chad Lefkowitz-Brown. The idea is to use a limited number of cells (no more than 10, some diatonic and some chromatic) to create longer lines, like the line below. 1) The idea is to connect the same fragments with different transpositions, adjusting the transpositions according to the construction of the line. I need a code where I can experiment the order and the transpositions of the fragments to create a longer line. Sometimes I can have two
  12. Here is a suggestion for posting the random seed value used by a function. When using Open Music way back in time I remember that you could "lock" a random function if you liked the result, which IMO was a great workflow feature. Perhaps a similar thing could be achived in Opusmodus if the random seed used for a function was posted to the post window in addition to the result of the evaluation. If you like the result of a particular seed you could then manually "lock" the randomization using the :seed keyword for the function: ; first try different randomizations (set
  13. Does Opusmodus perhaps already have some quantisation function that expects a list of floats and that basically rounds these floats into a metric rhythm, including using tuplets? I am aware of vector-to-length – that implements a simple form of what I am looking for, but it does not support tuplets. Other algorithmic composition systems have more sophisticated quantisation facilities. For example, OpenMusic provides the box omquantify (among other functions in the Kant library). http://support.ircam.fr/docs/om/om6-manual/co/Quantification.html I am aware
  14. Hi, I am looking for some functions that support chord progressions. For example, I would like to get the chords in the popular "I-IV-V" sequence in C Major scale. Is there built-in support for such standard progressions in the keys of common scales? Regards, Rangarajan
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