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Found 6 results

1. ## solved Unexpected behavior in integer-to-pitch

Hi, It's likely I'm not fully understanding the integer-to-pitch function in this case, so any help is much appreciated. I have an arbitrary integer sequence with no repeated elements: (setf test-seq '(13 80 61 81 74 72 46 64 31 47 77 22 19 69 7 2 26 71 33 73 59 55 3 39 62 5 65 44 38 49 14 4 52 53 66 57 29 21 6 78 35 10 41 88 76 9 28 8 15 17 43 25 58 42 12 67 70 20 82 87 63 18 56 16 30 34 86 50 27 84 24 45 51 40 75 85 37 36 23 32 60 68 83 11 54 79 48 1)) ; all the notes on the piano ; I can see that the elements are unique: (equalp (length test-seq) (length (remove-duplicates test-seq))) t ; Here's what I'm failing to understand -- (integer-to-pitch test-seq) should not have any duplicates, but it does: (sort-asc (integer-to-pitch *my-log-seq* :quantize 1/2)) (cs4 d4 eb4 e4 f4 fs4 g4 gs4 a4 bb4 b4 c5 cs5 d5 eb5 e5 f5 fs5 g5 gs5 a5 bb5 b5 c6 cs6 d6 eb6 e6 f6 fs6 g6 gs6 a6 bb6 b6 c7 cs7 d7 eb7 e7 f7 fs7 g7 gs7 a7 bb7 b7 c8 c8 c8 cs8 cs8 cs8 d8 d8 d8 eb8 eb8 eb8 e8 e8 e8 f8 f8 fs8 fs8 g8 g8 gs8 gs8 gs8 a8 a8 a8 bb8 bb8 bb8 b8 b8 b8 c9 cs9 d9 eb9 e9 f9 fs9 g9) Perhaps I'm not fully understanding integer-to-pitch. Is there a better function I can use to map an integer to a unique pitch? Many Thanks, Paul Marquardt
2. ## gen-brownian-motion inside lower and upper limit

Is there any possibility to force a brownian motion to be reflected within a lower and an upper (maybe even changing) limit? Thanks for suggestions. Achim
3. ## merge several rhythms into one

Hi all, is there a function/ method to merge several rhythms into one which is displaying all the onsets of these rhythms. Here the first two systems are merged into the third. Thanks for help. Achim
4. ## file to list

Does anybody have an idea, how to loop through a directory and writing the content of a textfile (like the one attached) without the semicolons into normal lists? Thanks for help. Achimch1-amp-envs.txt
5. ## solved [SOLVED] Idea for a Rhythmic Set Theory Function

In my Dissertation, I worked a way to convert every chord and set in a modulo 12 rhythm, so the entire catalog of FORTE are converted to rhythms, following the steps of Babitt: As a hardcore serialist, Babbitt was interested in converting 12-tone rows to rhythms, in a kind of 12-tone rhythm theory. Below, Wuorinen show one example of a typical Babbitt idea: For the sake of explaining my idea of function, it's important to have in mind that for Babbitt, the order of the row is very important and lead to different results in the pitch to rhythm conversion. Take a look in the example below: In the preceeding figure, the order of the C major triad generate different rhythms. In the example (0 4 7) have a different result from (4 0 7) or (7 0 4). In the system I developed in my Dissertation, the order does NOT matter, since (0 4 7), (7 0 4) or (4 0 7) will result in exactly the same rhythm, as you can see below: In my system, the transposition equals rotation (as well as in Babbitt) And every chord symbol can be transformed in a rhythm: Even voicings can be converted in longer Rhythms (the more spread the voicing, the longer the rhythm): So I did every FORTE SET in the catalog, in this way: Below, you can see the example of the rhythm of the major triad (Forte number 3-11b). In the 1st bar there is the prime form (0 4 7). In each subsequent bar there is a rotation of the first set by 16th note increments. HERE IS THE POINT, for the sake of the new function ! The note C (that I call Rhythmic Fundamental, the "root" of the rhythm) is being displaced, as you can see in the circled notes. THE SET WRAP AROUND ITSELF, always forming 12 time-points (always twelve 16th notes), in a different way from Babbit, where the order of the sets generates longer rhythms. THIS WAY IS MORE INTERESTING For Popular and Minimalist Repetition Music, as well as 12 tone music. In the bottom staff, there are the complementary rhythm of the 3-11b set, i.e., the 9-11a set. In the catalog, every set is presented alongside its complementary set and every set is presented in 3/4 (16th notes) and in 12-8 (with the 8th note as the base value for the increments and rotations). So the function needed would be the one that mirror exacty this kind of conversion, not the tradicional time-point-system conversion, so I could use my catolog inside Opusmodus, connecting the diferent sets, like this: Or even using portions of the Rhythmic Sets, by truncating some of them, like this: In the preceeding example, only parts of the 2 sets are used (9 time points out of 12 in the first and 8 time points out of 12 in the second). So, I hope someone could help me to find a way of implementing this. Maybe Janusz or Stephane could find interesting to develop this kind of idea inside the software. All the best ! Julio Herrlein
6. ## Key Command Conflicts plus Misc Crashes: Solved

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