Re: [Bluemusic-users] more thoughts and ideas

[t g. <tg...@gm...>]

Well then, sound object library sounds cool.  I didn't play with it
yet because the name to me implied something similar to what is in
place for instruments, where you could import a sound object, but
without the pointer style capabilities.  And here I was wondering if
everyone would think I was crazy for wanting it... and it's already
there. ;)

Regarding pasting, I would expect it to paste where-ever the cursor is.

  -Kevin

On 7/18/05, Steven Yi <ste...@gm...> wrote:
> Hi Kevin,
>=20
> > I know you're taking a few days off.  No rush on these ideas, I'm just
> > sending them before I forget about them.  Take a break, have a good
> > time.  I know I need to too ;)
>=20
> Thanks for the well wishes! =3D) (Eveyone has been very kind for them.)
>=20
> > I am finding the csound window VERY useful in debugging... so much so,
> > that I now wish there were an easier way to turn it on/off, since if
> > everything is working as I expect, I find the window a bit
> > distracting.  Either a hotkey directly to it, or at least a toggle
> > directly available in the main application menus (perhaps in the
> > "window menu"?) would probably be a good addition.
>=20
> This is something I was planning to put in.  It will definitely be in
> the next release.
>=20
> > Also, while it's not docked, is it possible to have the output window
> > not steal your focus?  I usually use F9 to start/stop a render, and
> > end up having to use my mouse or alt tabbing to stop playback.  I know
> > it's partially my window manager's fault, and I could "fix" it there,
> > but I'm pretty sure there's a way to do this.
>=20
> If you check out the blue.jar file I posted, it has this fix already
> in, as I tend to use blue the same way rendering with F9.  It will
> only steal focus now if it not yet open, if it is open it just stays
> there.
>=20
> > Have you thought about a "pointer" object before, to sort of hack in a
> > form a non-destructible editing of objects?  For example, have a
> > generic score (or whatever else) as the original object, and be able
> > to spawn copies of it that depend on the original, but could have
> > different length, time behaviors, possibly note modifiers (which I
> > would guess is up to the composer to use sanity depending on the
> > object type).
>=20
> This has been in for a while and is what the SoundObjectLibrary is all
> about.  I'm looking now and am amazed I don't see anything in the
> manual for it!  Yikes!  Well, a brief explanation, select a
> soundObject on the timeline and rt-click on it and select "Add to
> SoundObjectLibrary".  This will add it to the library (the library can
> be opened with F4 or by the windows menu) and replace what was on the
> timeline with an "Instance" object (what I call what you were calling
> a "pointer" object).  From this point, you can copy an instance and
> paste it to make copies, or also from the library choose "Copy as
> Instance" to put an instance in the buffer for pasting, or if you want
> to make a copy of the original soundObject you can use just "Copy"
> from the library.  After that, working with instances all point to the
> object in the library.  Instances can be moved around in time, resized
> for duration, have their own timeBehaviors, and most importantly have
> noteProcessors attached.
>=20
> By using instances of musical ideas with noteProcessors, it allows for
> the abstract concept of a motive and transformations on the motive.
> So, you can express musical ideas like "This is the initial motive
> here, here it is again tranpsposed up a fifth, here it is retrograded
> and inverted on this pch-axis", etc.
>=20
> There is a (bad) 12-tone example in the old Berklee examples I did a
> few years ago:
>=20
> http://www.csounds.com/stevenyi/blue/
>=20
> That uses it.  I think I used instances quite a bit in "On the
> Sensations of Tone", which is included with blue in the
> blue/examples/pieces folder.
>=20
> Another note, in terms of score generation, when the instances go to
> generate their score, they first ask the soundObject they point to to
> generate it's score, then they take the results and apply their own
> properties to the generated score.  This happens with every instance,
> so if your source soundObject in the library is a python object that
> may have random notes, each instance will have a slightly different
> result. Musically, this makes sense to me as it expresses the source
> material is "live" and the group effect is the desired source. (To me
> at least. =3D) )
>=20
> I'll try to capture all of this and put it in the docs today.  Sorry
> this wasn't there!
>=20
> > I'm trying to play with "freeze" for the first time (yes, I was gone
> > *THAT* long).  It didn't work on a pattern object, but maybe I'm using
> > it wrong, I'll see what the docs say about it.   I need to lookup how
> > it works with instruments that depend on global variables (line
> > objects) anyway.
>=20
> Freezing is tricky and doesn't work with all topologies of
> soundObjects and global variables.   It was a really tricky thing to
> implement and to understand what will work and what won't.  It was a
> few years now I think since I put it in, and largely I haven't thought
> about it much since doing it, probably because it made my brain hurt.
> =3D)
>=20
> I can imagine one possible way to do a freeze where global sigs from
> lines would work with other soundObjects if you do a freeze altogether
> of selected soundObjects.  Right now, if you select multiple
> soundObjects and then freeze, blue will go and freeze each one
> individually.  If they could be done together, then perhaps they could
> then work together.  The only problem then would be how to represent
> the grouped frozen object.  (The freezing was implemented much earlier
> than the lineObject, so a lot of possibilities didn't cross my mind at
> the time).  I'll write a note to consider it a biit more and see if
> there's good ways to do this.
>=20
> > And last of all, is there a reason ctrl-v doesn't paste copied
> > object(s) to the timeline?
>=20
> For pasting, it's either ctrl-click to paste as originally copied
> (added just a couple releases ago) and shift-click to paste as
> polyObject (this is the old paste system, and only pastes if more than
> one soundObject is in the copy buffer).  I never put in only a ctrl-v
> because it never made sense to me where that would paste in, and if it
> was to paste where it was copied from I didn't want to have
> overlapping soundObjects (which are hard to find in blue if one covers
> another completely).  So I put in ctrl-click because then you have
> some control over where you want to paste it in.  I think it's pretty
> intuitive once you give it a go and I haven't found anything in any
> other system that was faster to work with.
>=20
> Hope that helps and thanks for the comments!
> steven
>=20
>=20
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