bolprocessor-devel — Bol Processor developer discussion list

Re: [bp-dev] Reading English convention (was Development continuing?)

[Robert M. <cqv...@op...>]

Ah, this sounds good, Bernard. In fact, your explanation will allow me to
rewrite the alphabets (very easy) to suit. Of course, for an English
conventioner like me, to be able to use C# etc in alphabets would be
convenient. And:

Therefore we could say now that a "terminal symbol" is a particular variable
that is mapped to a sound-object - via a sound-object prototype or because
it is a "simple note".

Should not cause any problems at all.

I'll get a chance to put BP2 through some paces with this new knowledge over
the next couple of days and then post again.

Many thanks for the help.

Cheers

Rob


On 29/11/09 4:01 AM, "Bernard Bel" <ber...@gm...> wrote:

> Dear Rob,
> 
> The two issues are solved -one will be fixed shortly.
> 
> "Error code 27": it has always been there. It was impossible to define a
> homomorphism (such as TRANS1 here) using notes in English convention because
> the compiler would not accept terminal symbols starting with uppercase
> characters. Indeed this was a contradiction since English note symbols are
> terminal symbols!
> 
> The bug is very easy to fix. The following is for Anthony, the only person
> owning a proper compiler for this version:
> 
> -----
> In "CompileGrammar.c"
> 
> OkBolChar(char c)
> // Characters accepted as first one of terminal name
> {
> if(islower(c) ||  isupper(c)) return(YES); /* Modified 23/11/2009 */
> ...
> -----
> 
> The corrected version will do something entirely new, i.e. accepting names of
> terminal symbols starting with uppercase, such as for instance "Mysound"
> instead of "mysound" or "mYsound".
> 
> Till yesterday I was reluctant to the idea that a terminal symbol might start
> with an uppercase character because it would be confused with a variable. So
> what? After all, terminal symbols can be rewritten and behave the same way as
> variables (except in the internal machine). Therefore we could say now that a
> "terminal symbol" is a particular variable that is mapped to a sound-object -
> via a sound-object prototype or because it is a "simple note".
> 
> Practically, the only way to know whether "Mysound" is just a variable or a
> terminal symbol will be to look for its occurrence in the Alphabet window.
> 
> Confusing variables with terminal symbols has a draw-back: if a variable is
> left uninstantiated in the musical piece, it will simply be erased. Still, BP2
> will gently warning you before doing so.
> 
> 
> Now, your second issue: "it's not a bug, it's a feature" (Bill Gates).
> 
> "Capture selection as..." does not create a MIDI file but a MIDI stream, i.e.
> a sequence of MIDI codes stored in the computer's memory. Once you have stored
> the MIDI stream you can paste it to a sound-object prototype. There is a
> "Paste MIDI stream" button on the sound-object prototype window that is
> activated when a MIDI stream is in memory.
> 
> To create MIDI files all you need to do is check the "Write MIDI files" button
> on the lowest settings window. Then "Play" the item or the selection. After
> playing, BP2 will ask you whether you want to save it to a MIDI file.
> 
> (I have just checked that an item exported as a MIDI file can be imported to a
> sound-object prototype.)
> 
> Bernard Bel
> 
> 
> 

Re: [bp-dev] Reading English convention (was Development continuing?)

[Bernard B. <ber...@gm...>]

Dear Rob,

The two issues are solved -one will be fixed shortly.

"Error code 27": it has always been there. It was impossible to define a homomorphism (such as TRANS1 here) using notes in English convention because the compiler would not accept terminal symbols starting with uppercase characters. Indeed this was a contradiction since English note symbols are terminal symbols!

The bug is very easy to fix. The following is for Anthony, the only person owning a proper compiler for this version:

-----
In "CompileGrammar.c"

OkBolChar(char c)
// Characters accepted as first one of terminal name
{
if(islower(c) ||  isupper(c)) return(YES); /* Modified 23/11/2009 */
...
-----

The corrected version will do something entirely new, i.e. accepting names of terminal symbols starting with uppercase, such as for instance "Mysound" instead of "mysound" or "mYsound".

Till yesterday I was reluctant to the idea that a terminal symbol might start with an uppercase character because it would be confused with a variable. So what? After all, terminal symbols can be rewritten and behave the same way as variables (except in the internal machine). Therefore we could say now that a "terminal symbol" is a particular variable that is mapped to a sound-object - via a sound-object prototype or because it is a "simple note".

Practically, the only way to know whether "Mysound" is just a variable or a terminal symbol will be to look for its occurrence in the Alphabet window.

Confusing variables with terminal symbols has a draw-back: if a variable is left uninstantiated in the musical piece, it will simply be erased. Still, BP2 will gently warning you before doing so.


Now, your second issue: "it's not a bug, it's a feature" (Bill Gates).

"Capture selection as..." does not create a MIDI file but a MIDI stream, i.e. a sequence of MIDI codes stored in the computer's memory. Once you have stored the MIDI stream you can paste it to a sound-object prototype. There is a "Paste MIDI stream" button on the sound-object prototype window that is activated when a MIDI stream is in memory.

To create MIDI files all you need to do is check the "Write MIDI files" button on the lowest settings window. Then "Play" the item or the selection. After playing, BP2 will ask you whether you want to save it to a MIDI file.

(I have just checked that an item exported as a MIDI file can be imported to a sound-object prototype.)

Bernard Bel




>Hi  Bernard
>    It's such a pleasure to be talking BP2 again after all this time! The alphabet that stops things is:
>
>TRANS1
>C1 --> C#1 --> D1 --> G#1 --> C2 --> C#2 --> D2 --> E2 --> F2 --> G2 --> G#2 --> A#2 --> C3 --> C#3 --> D3 --> D#3 --> E3 --> F3 --> G3 --> G#3 --> A3 --> A#3 --> B3 --> C4 --> C#4 --> E4 --> F4 --> F#4 --> G4 --> A4 --> A#4 --> B4 --> C5
>
>--------------------
>
>It gives me the Trace message:
>
>Can't make sense of "C1"
>??? C1 --> C#1 --> D1 --> G#1 --> C2 --> C#2 --> D2 --> E2 --> F2 --> G2 --> G#2 --> A#2 --> C3 --> C#3 --> D3 --> D#3 --> E3 --> F3 --> G3 --> G#3 --> A3 --> A#3 --> B3 --> C4 --> C#4 --> E4 --> F4 -->
>§§§ Error code 27: terminal symbol contains unwanted character
>
>I've tried some of the old example from Thierry Mountaudon and Harm Visser, and I get the same with anything that has an English convention alphabet.
>
>But the MIDI capture problem is that when I highlight anything in the Data window and click Capture selection as ..., in the control panel, I get a message saying  No MIDI events captured. I tried with one of Harm Visser's projects and didn't get that. Wasn't there a dialogue box that asked for a file name and location?
>
>I'm really keen to get BP2 on the road again. I've been contemplating moving to Max or AC Toolbox, etc, but BP2 so easily handles the peculiar transpositions that I'm particularly interested in. And it's ability to deal with text raw material is wonderful! I'll hopefully be working quite a bit with it from now, so maybe I can at last contribute (I'm just a musician, not a programmer, though! 8-)
>
>Thanks for your help. Hope all goes well for France in the coming World Cup (apart from Henry's hand!)
>
>Cheers
>
>Rob
>
>
>--
>Robert Moore
>CQV publishing and editing
>10 Hawthorn Rd
>Caulfield North  Vic  3161
>Phone: 03 9504 8212
>Mobile: 0411 950 649
>--
>
>Dear Rob,
>
>Yes, development is still on the agenda even though we have been busy with other urgent matters for a year or so!
>
>The first error is bizarre because I also checked old material on the new version, including items based on English note convention. Can you send me a copy of the grammar that is not compiled properly? (I guess the error occurs at this stage.)
>
>With respect to MIDI data I remember checking that this version is saving correct MIDI files. However my tests were on MacOS 10.4.11.  Now I have a 10.5.x machine and will look into this matter with great care. I also suggest that you send me a MIDI file that was not recognized.  (MIDI file procedures were not part of our routine checks during development.)
>
>Regarding development we are still "half way" (possibly further?) producing the Universal Binary version. Two weeks ago I had discussions with a scientist who is eager to direct new developments (outside music production) using Linux. I understand that they should start from Universal Binary source code. Therefore we are trying to raise funds and find developers for this next round, inclusing the UB stable version.
>
>Thanks for posting this list on problems as it will incite us to revise priorities!
>
>Bernard Bel
>
>
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Re: [bp-dev] Reading English convention (was Development continuing?)

[Bernard B. <ber...@gm...>]

Good news : this error in compiling alphabets containing notes in English
convention was already there in BP2.9.5 (ultimate MacOS 9 version in
2007).  This is good news because I can locate it using the CodeWarrior
debugger that I kept on an old machine.

More about it soon!

Bernard Bel


>>Hi  Bernard
>>    It's such a pleasure to be talking BP2 again after all this time!
>The alphabet that stops things is:
>>
>>TRANS1
>>C1 --> C#1 --> D1 --> G#1 --> C2 --> C#2 --> D2 --> E2 --> F2 --> G2 -->
>G#2 --> A#2 --> C3 --> C#3 --> D3 --> D#3 --> E3 --> F3 --> G3 --> G#3 --
>> A3 --> A#3 --> B3 --> C4 --> C#4 --> E4 --> F4 --> F#4 --> G4 --> A4 --
>> A#4 --> B4 --> C5
>>
>>--------------------
>>
>>It gives me the Trace message:
>>
>>Can't make sense of "C1"
>>??? C1 --> C#1 --> D1 --> G#1 --> C2 --> C#2 --> D2 --> E2 --> F2 --> G2
>--> G#2 --> A#2 --> C3 --> C#3 --> D3 --> D#3 --> E3 --> F3 --> G3 -->
>G#3 --> A3 --> A#3 --> B3 --> C4 --> C#4 --> E4 --> F4 -->
>>§§§ Error code 27: terminal symbol contains unwanted character
>>
>>I've tried some of the old example from Thierry Mountaudon and Harm
>Visser, and I get the same with anything that has an English convention
>alphabet.
>
>You are right. It seems that this version is unable to compile the
>alphabet/homomorphism whenever strings start with an uppercase char,
>which is the case with English note convention. I checked that it works
>with French and Indian conventions.
>
>This might be a quite old mistake that I failed to notice because I had
>no example using English conventions for routine-checking this procedure.
>I will trace the process and find out where it goes wrong. I hope that
>after locating the bug it will take little time for Anthony to recompile.
>
>>But the MIDI capture problem is that when I highlight anything in the
>Data window and click Capture selection as ..., in the control panel, I
>get a message saying  No MIDI events captured. I tried with one of Harm
>Visser's projects and didn't get that. Wasn't there a dialogue box that
>asked for a file name and location?
>
>I tried it with both English and French conventions.
>
>It is true that "Capture as a MIDI file" does not produce anything and
>this needs to be fixed.
>
>A different method worked. In the lowest "settings" window I checked
>"Save as MIDI files". Then I selected data in the Data window and did
>"Play". It played the item and then asked me whether I want to save it as
>a MIDI file.
>
>I have not yet tried to reload MIDI files to sound-object prototypes. I
>will get some time to try it on Tuesday and trace these bugs!
>
>>I'm really keen to get BP2 on the road again. I've been contemplating
>moving to Max or AC Toolbox, etc, but BP2 so easily handles the peculiar
>transpositions that I'm particularly interested in. And it's ability to
>deal with text raw material is wonderful! I'll hopefully be working quite
>a bit with it from now, so maybe I can at last contribute (I'm just a
>musician, not a programmer, though! 8-)
>
>It is great to get feedback, including bug reports, because we always
>miss features when cheking developments. This is why I wrote that it
>becomes a "priority".
>
>>Thanks for your help. Hope all goes well for France in the coming World
>Cup (apart from Henry's hand!)
>
>I heard that there had been quite a mess in the preceding match. A pity
>that admirers are so chauvinistic!
>
>All the best
>
>Bernard

Re: [bp-dev] Reading English convention (was Development continuing?)

[Bernard B. <ber...@gm...>]

>Hi  Bernard
>    It's such a pleasure to be talking BP2 again after all this time! The alphabet that stops things is:
>
>TRANS1
>C1 --> C#1 --> D1 --> G#1 --> C2 --> C#2 --> D2 --> E2 --> F2 --> G2 --> G#2 --> A#2 --> C3 --> C#3 --> D3 --> D#3 --> E3 --> F3 --> G3 --> G#3 --> A3 --> A#3 --> B3 --> C4 --> C#4 --> E4 --> F4 --> F#4 --> G4 --> A4 --> A#4 --> B4 --> C5
>
>--------------------
>
>It gives me the Trace message:
>
>Can't make sense of "C1"
>??? C1 --> C#1 --> D1 --> G#1 --> C2 --> C#2 --> D2 --> E2 --> F2 --> G2 --> G#2 --> A#2 --> C3 --> C#3 --> D3 --> D#3 --> E3 --> F3 --> G3 --> G#3 --> A3 --> A#3 --> B3 --> C4 --> C#4 --> E4 --> F4 -->
>§§§ Error code 27: terminal symbol contains unwanted character
>
>I've tried some of the old example from Thierry Mountaudon and Harm Visser, and I get the same with anything that has an English convention alphabet.

You are right. It seems that this version is unable to compile the alphabet/homomorphism whenever strings start with an uppercase char, which is the case with English note convention. I checked that it works with French and Indian conventions.

This might be a quite old mistake that I failed to notice because I had no example using English conventions for routine-checking this procedure. I will trace the process and find out where it goes wrong. I hope that after locating the bug it will take little time for Anthony to recompile.

>But the MIDI capture problem is that when I highlight anything in the Data window and click Capture selection as ..., in the control panel, I get a message saying  No MIDI events captured. I tried with one of Harm Visser's projects and didn't get that. Wasn't there a dialogue box that asked for a file name and location?

I tried it with both English and French conventions.

It is true that "Capture as a MIDI file" does not produce anything and this needs to be fixed.

A different method worked. In the lowest "settings" window I checked "Save as MIDI files". Then I selected data in the Data window and did "Play". It played the item and then asked me whether I want to save it as a MIDI file.

I have not yet tried to reload MIDI files to sound-object prototypes. I will get some time to try it on Tuesday and trace these bugs!

>I'm really keen to get BP2 on the road again. I've been contemplating moving to Max or AC Toolbox, etc, but BP2 so easily handles the peculiar transpositions that I'm particularly interested in. And it's ability to deal with text raw material is wonderful! I'll hopefully be working quite a bit with it from now, so maybe I can at last contribute (I'm just a musician, not a programmer, though! 8-)

It is great to get feedback, including bug reports, because we always miss features when cheking developments. This is why I wrote that it becomes a "priority".

>Thanks for your help. Hope all goes well for France in the coming World Cup (apart from Henry's hand!)

I heard that there had been quite a mess in the preceding match. A pity that admirers are so chauvinistic!

All the best

Bernard

[bp-dev] Reading English convention (was Development continuing?)

[Robert M. <cqv...@op...>]

Hi  Bernard
    It¹s such a pleasure to be talking BP2 again after all this time! The
alphabet that stops things is:

TRANS1
C1 --> C#1 --> D1 --> G#1 --> C2 --> C#2 --> D2 --> E2 --> F2 --> G2 --> G#2
--> A#2 --> C3 --> C#3 --> D3 --> D#3 --> E3 --> F3 --> G3 --> G#3 --> A3
--> A#3 --> B3 --> C4 --> C#4 --> E4 --> F4 --> F#4 --> G4 --> A4 --> A#4
--> B4 --> C5

--------------------

It gives me the Trace message:

Can't make sense of ³C1²
??? C1 --> C#1 --> D1 --> G#1 --> C2 --> C#2 --> D2 --> E2 --> F2 --> G2 -->
G#2 --> A#2 --> C3 --> C#3 --> D3 --> D#3 --> E3 --> F3 --> G3 --> G#3 -->
A3 --> A#3 --> B3 --> C4 --> C#4 --> E4 --> F4 -->
§§§ Error code 27: terminal symbol contains unwanted character

I¹ve tried some of the old example from Thierry Mountaudon and Harm Visser,
and I get the same with anything that has an English convention alphabet.

But the MIDI capture problem is that when I highlight anything in the Data
window and click Capture selection as ..., in the control panel, I get a
message saying  No MIDI events captured. I tried with one of Harm Visser¹s
projects and didn¹t get that. Wasn¹t there a dialogue box that asked for a
file name and location?

I¹m really keen to get BP2 on the road again. I¹ve been contemplating moving
to Max or AC Toolbox, etc, but BP2 so easily handles the peculiar
transpositions that I¹m particularly interested in. And it¹s ability to deal
with text raw material is wonderful! I¹ll hopefully be working quite a bit
with it from now, so maybe I can at last contribute (I¹m just a musician,
not a programmer, though! 8-)

Thanks for your help. Hope all goes well for France in the coming World Cup
(apart from Henry¹s hand!)

Cheers

Rob


-- 
Robert Moore
CQV publishing and editing
10 Hawthorn Rd
Caulfield North  Vic  3161
Phone: 03 9504 8212
Mobile: 0411 950 649
--

> Dear Rob,
> 
> Yes, development is still on the agenda even though we have been busy with
> other urgent matters for a year or so!
> 
> The first error is bizarre because I also checked old material on the new
> version, including items based on English note convention. Can you send me a
> copy of the grammar that is not compiled properly? (I guess the error occurs
> at this stage.)
> 
> With respect to MIDI data I remember checking that this version is saving
> correct MIDI files. However my tests were on MacOS 10.4.11.  Now I have a
> 10.5.x machine and will look into this matter with great care. I also suggest
> that you send me a MIDI file that was not recognized.  (MIDI file procedures
> were not part of our routine checks during development.)
> 
> Regarding development we are still "half way" (possibly further?) producing
> the Universal Binary version. Two weeks ago I had discussions with a scientist
> who is eager to direct new developments (outside music production) using
> Linux. I understand that they should start from Universal Binary source code.
> Therefore we are trying to raise funds and find developers for this next
> round, inclusing the UB stable version.
> 
> Thanks for posting this list on problems as it will incite us to revise
> priorities!
> 
> Bernard Bel

Re: [bp-dev] Development continuing?

[Bernard B. <ber...@gm...>]

Dear Rob,

Yes, development is still on the agenda even though we have been busy with other urgent matters for a year or so!

The first error is bizarre because I also checked old material on the new version, including items based on English note convention. Can you send me a copy of the grammar that is not compiled properly? (I guess the error occurs at this stage.)

With respect to MIDI data I remember checking that this version is saving correct MIDI files. However my tests were on MacOS 10.4.11.  Now I have a 10.5.x machine and will look into this matter with great care. I also suggest that you send me a MIDI file that was not recognized.  (MIDI file procedures were not part of our routine checks during development.)

Regarding development we are still "half way" (possibly further?) producing the Universal Binary version. Two weeks ago I had discussions with a scientist who is eager to direct new developments (outside music production) using Linux. I understand that they should start from Universal Binary source code. Therefore we are trying to raise funds and find developers for this next round, inclusing the UB stable version.

Thanks for posting this list on problems as it will incite us to revise priorities!

Bernard Bel
 

>Hi Folks
>    Have just started resurrecting some old composition work. Is BP2 still in development? I'm having a little trouble with the latest OS 10 version:
>
>won't recognise English convention in alphabets
>doesn't seem to want to capture or save anything as MIDI data
>
>They're just a couple of things. The first is only a nuisance, but the second is a bit debilitating. I'm running OS10.5.8 (Leopard) on a late 2008 2.8 GHz 24"  iMac.
>
>But I'd be very interested in hearing how things are going.
>
>Thanks and Cheers
>
>Rob
>
>--
>Robert Moore
>CQV publishing and editing
>10 Hawthorn Rd
>Caulfield North  Vic  3161
>Phone: 03 9504 8212
>Mobile: 0411 950 649

[bp-dev] Development continuing?

[Robert M. <cqv...@op...>]

Hi Folks
    Have just started resurrecting some old composition work. Is BP2 still
in development? I¹m having a little trouble with the latest OS 10 version:

* won¹t recognise English convention in alphabets
* doesn¹t seem to want to capture or save anything as MIDI data

They¹re just a couple of things. The first is only a nuisance, but the
second is a bit debilitating. I¹m running OS10.5.8 (Leopard) on a late 2008
2.8 GHz 24²  iMac.

But I¹d be very interested in hearing how things are going.

Thanks and Cheers

Rob


-- 
Robert Moore
CQV publishing and editing
10 Hawthorn Rd
Caulfield North  Vic  3161
Phone: 03 9504 8212
Mobile: 0411 950 649
--

Re: [bp-dev] Implementing BP2 concepts in a pure message-passing language?

[Jacob G. <jk...@um...>]

Sure, if you want to mention my name on the wiki that would be fine.

BP2 developers might also be interested in Strasheela, a generic
constraint-based computer aided music composition system with some real-time
capability:

http://strasheela.sourceforge.net/

Strasheela is written in the Oz programming language. Oz is occasionally
mentioned in the same breath as Erlang due to its support of distributed
programming, but it also supports concurrent constraint logic programming.

Jacob

On 11/17/08 6:41 AM, "Bernard Bel" <ber...@gm...> wrote:

> This sounds very interesting. I had read about temporal logic approaches
> in music and came to the same conclusion that sophisticated algorithms
> might be interesting in theory but too unefficient for the complex
> structures of "real" music. Therefore I had searched for a
> straightforward constraint-satisfaction approach covering the major kinds
> of constraints in sequences of sound-objects. We must say "sequences"
> because a limitation of the sound-object time-setting algorithm is that
> it treats each sequence of objects - each "line" of the phase table -
> independently. The only case of dependency is the "break tempo" feature
> that displaces the time streaks of all sequences.
> 
> Now I believe that it would be worth improving the algorithm to take into
> account constraints between sound-objects that belong to different sequences.
> 
> Right now I do not have time to study the Erlang approach. Therefore it
> would be very interesting that you report your findings. However I am
> keen on liting and documenting innovative ideas on the wiki pages
> dedicated to Bol Processor and related topics. For example I copied your
> suggestion to this page:
>  http://crdo.fr/wiki/BolProcessorFuture/Erlang
> 
> Please tell me whether it is acceptable to mention your name. No email
> address are supplied on these pages unless indicated by authors.
> 
> If more persons wish to document pages I will send them the password for
> "BolProcessorGroup".
> 
> Thank you again for this challenging input!
> 
> Bernard Bel

Re: [bp-dev] Implementing BP2 concepts in a pure message-passing language?

[Bernard B. <ber...@gm...>]

This sounds very interesting. I had read about temporal logic approaches
in music and came to the same conclusion that sophisticated algorithms
might be interesting in theory but too unefficient for the complex
structures of "real" music. Therefore I had searched for a
straightforward constraint-satisfaction approach covering the major kinds
of constraints in sequences of sound-objects. We must say "sequences"
because a limitation of the sound-object time-setting algorithm is that
it treats each sequence of objects - each "line" of the phase table -
independently. The only case of dependency is the "break tempo" feature
that displaces the time streaks of all sequences.

Now I believe that it would be worth improving the algorithm to take into
account constraints between sound-objects that belong to different sequences.

Right now I do not have time to study the Erlang approach. Therefore it
would be very interesting that you report your findings. However I am
keen on liting and documenting innovative ideas on the wiki pages
dedicated to Bol Processor and related topics. For example I copied your
suggestion to this page:
 http://crdo.fr/wiki/BolProcessorFuture/Erlang

Please tell me whether it is acceptable to mention your name. No email
address are supplied on these pages unless indicated by authors.

If more persons wish to document pages I will send them the password for
"BolProcessorGroup".

Thank you again for this challenging input!

Bernard Bel


>Thanks Bernard and Anthony for your help, and for the link to Bernard's list
>of publications. I was surprised to discover that there are a number of
>English papers I haven't read after all, so it looks like I have more
>reading to do.
>
>Erlang was originally developed by Ericsson for building telecommunications
>applications and was open sourced several years ago. The sequential part of
>Erlang is a fairly uninteresting strict functional language with dynamic
>typing and a syntax reminiscent of Prolog. The concurrent part is a pure
>message passing language based on the actor model. There is also an
>extensive set of libraries called OTP (Open Telecom Platform) which make it
>easy to build distributed applications. There's a pretty good (though old)
>tutorial which is available from the Erlang website:
>
>http://www.erlang.org/download/getting_started-5.4.pdf
>
>If you're not interested in the sequential part of the language you can skip
>to section 1.3, which is where the discussion of the concurrency model
>starts. There are also many Erlang tutorials on the web which you can easily
>find by Googling.
>
>I found out about Bol Processor after first having read a good deal of
>material on temporal logic approaches to musical time, which I found pretty
>depressing given the complexity of those algorithms and the fact that I am
>interested in developing a real-time system. It's a relief to find efficient
>algorithms that accomplish similar goals.
>
>I am still fairly new to both Erlang and BP2, so I have a long way to go
>when it comes to figuring out how to recast BP2's algorithms in terms of
>Erlang's concurrency model. I'm glad you're interested, though, and will
>report back if and when I have something to report :)
>
>Jacob
>
>On 11/14/08 2:13 AM, "Bernard Bel" <ber...@gm...> wrote:
>
>> Sorry for not replying earlier this challenging proposal!
>> 
>> Unfortunatly I am not aware of Erlang. Can you sugget an introductive
paper?
>> 
>> "Two algorithms for the instantiation of structures of musical objects"
>is the
>> most detailed paper on the polymetric and time-setting algorithms in
BP2. It
>> is more up to date than the chapters of my PhD thesis dedicated to the same
>> topics. However, my description of the polymetric expansion algorithm
>does not
>> take into account the _tempo() tool that I introduced later for more
>> flexibility. However, changes can be traced in the source code and they
>do not
>> deeply alter the algorithm. When time permits (?!) I will rewrite the
formal
>> description of this algorithm.
>> 
>> Both algorithms are linear as demonstrated in my thesis. This was necessary
>> given the complexity of musical structures and the relatively poor
>performance
>> of machines in the late 1990s.
>> 
>> In terms of space, BP2 uses an array of 'time-objects' but the size of this
>> array is minimized by the quantization process. I was quite lucky to
>implement
>> this process at the 'symbolic level', which meant modifying the polymetric
>> expression before spreading its objects over the phase table. This is
>perhaps
>> the best reason for using polymetric representation.
>> 
>> I am certain that the time-setting could be worked out in many other
>> interesting ways. I designed it with a particular notion of sound-
>object, but
>> more elaborated ones could be implemented provided that their
description is
>> accessible to a user-friendly editor or built up by appropriate algorithms.
>> 
>> Sorry for not being very helpful... Please keep in touch as I am quite
>> interested in new theoretical approaches!
>> 
>> All the best
>> 
>> Bernard Bel
>> 
>> 
>>> Hi Jacob,
>>> 
>>> I don't know too much about concurrency or the details of BP2's internal
>>> algorithms.  (The grammar, polymetric expr, and time-setting algs are all
>>> quite complex and I have never been able to look at them in depth).  I do
>>> wonder if parallel evaluation of polymetric expressions could work but I
>>> don't really know that it couldn't and perhaps you already have some ideas
>>> about how to do that.
>>> 
>>> I do believe that BP2's algorithms are rather unique, so there are not
>other
>>> examples to work from.  I'm sure that these algs are rather linear. 
>Perhaps
>>> finding some unrelated examples of how to take some standard "linear"
>>> algorithms and transform them to take advantage of Erlang would be useful.
>>> 
>>> But if you need help navigating the BP code, please ask and I will do my
>>> best to answer.  There are a lot of globals and stuff that I have slowly
>>> come to understand the purposes of.  Also, a lot of the main data
>structures
>>> are obscured a little by the fact that Mac Classic programming used
handles
>>> instead of pointers when allocating memory (eg.  char** instead of char*).
>>> So, you will see a lot of expressions like (*((*foo)[i].bar))[j] which
>would
>>> be similar to foo[i].bar[j] if regular pointers were used.
>>> 
>>> I do have a question.  Are the articles you mentioned available
>online?  I'd
>>> like to read them myself.
>>> 
>>> Best,
>>> Anthony


-- 
Bernard Bel <ber...@gm...>
Home page : <http://www.lpl.univ-aix.fr/~belbernard/>
Bol Processor project : <http://bolprocessor.sourceforge.net/>
Blog perso : <http://bernard-bel.over-blog.com/>

Re: [bp-dev] Implementing BP2 concepts in a pure message-passing language?

[Jacob G. <jk...@um...>]

Thanks Bernard and Anthony for your help, and for the link to Bernard's list
of publications. I was surprised to discover that there are a number of
English papers I haven't read after all, so it looks like I have more
reading to do.

Erlang was originally developed by Ericsson for building telecommunications
applications and was open sourced several years ago. The sequential part of
Erlang is a fairly uninteresting strict functional language with dynamic
typing and a syntax reminiscent of Prolog. The concurrent part is a pure
message passing language based on the actor model. There is also an
extensive set of libraries called OTP (Open Telecom Platform) which make it
easy to build distributed applications. There's a pretty good (though old)
tutorial which is available from the Erlang website:

http://www.erlang.org/download/getting_started-5.4.pdf

If you're not interested in the sequential part of the language you can skip
to section 1.3, which is where the discussion of the concurrency model
starts. There are also many Erlang tutorials on the web which you can easily
find by Googling.

I found out about Bol Processor after first having read a good deal of
material on temporal logic approaches to musical time, which I found pretty
depressing given the complexity of those algorithms and the fact that I am
interested in developing a real-time system. It's a relief to find efficient
algorithms that accomplish similar goals.

I am still fairly new to both Erlang and BP2, so I have a long way to go
when it comes to figuring out how to recast BP2's algorithms in terms of
Erlang's concurrency model. I'm glad you're interested, though, and will
report back if and when I have something to report :)

Jacob

On 11/14/08 2:13 AM, "Bernard Bel" <ber...@gm...> wrote:

> Sorry for not replying earlier this challenging proposal!
> 
> Unfortunatly I am not aware of Erlang. Can you sugget an introductive paper?
> 
> "Two algorithms for the instantiation of structures of musical objects" is the
> most detailed paper on the polymetric and time-setting algorithms in BP2. It
> is more up to date than the chapters of my PhD thesis dedicated to the same
> topics. However, my description of the polymetric expansion algorithm does not
> take into account the _tempo() tool that I introduced later for more
> flexibility. However, changes can be traced in the source code and they do not
> deeply alter the algorithm. When time permits (?!) I will rewrite the formal
> description of this algorithm.
> 
> Both algorithms are linear as demonstrated in my thesis. This was necessary
> given the complexity of musical structures and the relatively poor performance
> of machines in the late 1990s.
> 
> In terms of space, BP2 uses an array of 'time-objects' but the size of this
> array is minimized by the quantization process. I was quite lucky to implement
> this process at the 'symbolic level', which meant modifying the polymetric
> expression before spreading its objects over the phase table. This is perhaps
> the best reason for using polymetric representation.
> 
> I am certain that the time-setting could be worked out in many other
> interesting ways. I designed it with a particular notion of sound-object, but
> more elaborated ones could be implemented provided that their description is
> accessible to a user-friendly editor or built up by appropriate algorithms.
> 
> Sorry for not being very helpful... Please keep in touch as I am quite
> interested in new theoretical approaches!
> 
> All the best
> 
> Bernard Bel
> 
> 
>> Hi Jacob,
>> 
>> I don't know too much about concurrency or the details of BP2's internal
>> algorithms.  (The grammar, polymetric expr, and time-setting algs are all
>> quite complex and I have never been able to look at them in depth).  I do
>> wonder if parallel evaluation of polymetric expressions could work but I
>> don't really know that it couldn't and perhaps you already have some ideas
>> about how to do that.
>> 
>> I do believe that BP2's algorithms are rather unique, so there are not other
>> examples to work from.  I'm sure that these algs are rather linear.  Perhaps
>> finding some unrelated examples of how to take some standard "linear"
>> algorithms and transform them to take advantage of Erlang would be useful.
>> 
>> But if you need help navigating the BP code, please ask and I will do my
>> best to answer.  There are a lot of globals and stuff that I have slowly
>> come to understand the purposes of.  Also, a lot of the main data structures
>> are obscured a little by the fact that Mac Classic programming used handles
>> instead of pointers when allocating memory (eg.  char** instead of char*).
>> So, you will see a lot of expressions like (*((*foo)[i].bar))[j] which would
>> be similar to foo[i].bar[j] if regular pointers were used.
>> 
>> I do have a question.  Are the articles you mentioned available online?  I'd
>> like to read them myself.
>> 
>> Best,
>> Anthony

Re: [bp-dev] Implementing BP2 concepts in a pure message-passing language?

[Bernard B. <ber...@gm...>]

Anthony :

>Anyways, I will enjoy reading these very much now.  I hope to start working
>soon (next 6 mons. ?) on separating out the computational parts of BP2 from
>the Mac GUI interface so that these tools can be ported to other platforms
>as well.

This would be great. In the past it seemed unfeasable because of the
'ethnicity' of source code designed for MacOS 9. As you pointed out, the
use of handles in replacement to pointers (thereby taking full advantage
of MacOS' memory management, formerly named 'garbage collection') made it
difficult to write comprehensive code even when using macros. I would
have appreciated a macro able to transliterate to representation of
arrays, for instance A[i] to (**h_A)[i] or (*p_A)[i].

Most interesting would be the implementation of polymetric expansion,
quantization and 'serial operators' working on polymetric expressions.

Bernard Bel

Re: [bp-dev] Fixed excessive CPU usage

[Anthony K. <mai...@an...>]

Rainer Schuetz wrote on 11/12/08 5:50 PM:

> I think it does! In idle mode BP2 stays around 1.5% CPU consumption
> now! Great and quick!!!

Good.

> I can't notice any delay of the mouse...

The mouse pointer doesn't move slower, but it does not change its shape as
promptly as it used to when, for example, entering a text editing box.

> Other things one should pay attention to at this point? It seems the
> menu's don't always behave as one would expect? (e.g. action/play,
> stop resume ...)

This is possible, but I could use more details.

Thanks, as always.

Anthony

Re: [bp-dev] Implementing BP2 concepts in a pure message-passing language?

[Anthony K. <mai...@an...>]

Thanks very much, Bernard :)

I did find a couple more articles in the last hour and a half but I had not
found this complete index.  (I feel that I must have seen a number of these
articles before, and probably downloaded them but I cannot find most of them
on my hard drive ...)

Anyways, I will enjoy reading these very much now.  I hope to start working
soon (next 6 mons. ?) on separating out the computational parts of BP2 from
the Mac GUI interface so that these tools can be ported to other platforms
as well.

With warm regards,

Anthony

Bernard Bel wrote on 11/14/08 3:22 AM:

> All significant papers on BP2 are on line. Click the links in the
> rightmost column of my list of publications:
> 
> http://teck.lpl.univ-aix.fr/publi/FMPro?-db=lpl-publi.fp5&-
> format=search_results7.htm&-lay=web&-error=search_error2.htm&-
> sortfield=Annee&-sortorder=descend&Auteurs%20ID=2&-max=1000&-find

Re: [bp-dev] Implementing BP2 concepts in a pure message-passing language?

[Bernard B. <ber...@gm...>]

All significant papers on BP2 are on line. Click the links in the
rightmost column of my list of publications:

http://teck.lpl.univ-aix.fr/publi/FMPro?-db=lpl-publi.fp5&-
format=search_results7.htm&-lay=web&-error=search_error2.htm&-
sortfield=Annee&-sortorder=descend&Auteurs%20ID=2&-max=1000&-find

Bernard Bel


>Actually, I already had a copy of "Two algorithms ..." on my computer and I
>found "A flexible environment for music composition in non-European
>contexts" and "A symbolic-numeric approach to quantization in music" online
>too.  I have a copy of the CMJ article from 1998 as well.
>
>If any of the other papers are available online, I'd appreciate links to
>them.  Thanks.
>
>Anthony
>
>Anthony Kozar wrote on 11/14/08 1:18 AM:
>
>> I do have a question.  Are the articles you mentioned available
online?  I'd
>> like to read them myself.

Re: [bp-dev] Implementing BP2 concepts in a pure message-passing language?

[Anthony K. <mai...@an...>]

Actually, I already had a copy of "Two algorithms ..." on my computer and I
found "A flexible environment for music composition in non-European
contexts" and "A symbolic-numeric approach to quantization in music" online
too.  I have a copy of the CMJ article from 1998 as well.

If any of the other papers are available online, I'd appreciate links to
them.  Thanks.

Anthony

Anthony Kozar wrote on 11/14/08 1:18 AM:

> I do have a question.  Are the articles you mentioned available online?  I'd
> like to read them myself.

Re: [bp-dev] Implementing BP2 concepts in a pure message-passing language?

[Bernard B. <ber...@gm...>]

Sorry for not replying earlier this challenging proposal!

Unfortunatly I am not aware of Erlang. Can you sugget an introductive paper?

"Two algorithms for the instantiation of structures of musical objects" is the most detailed paper on the polymetric and time-setting algorithms in BP2. It is more up to date than the chapters of my PhD thesis dedicated to the same topics. However, my description of the polymetric expansion algorithm does not take into account the _tempo() tool that I introduced later for more flexibility. However, changes can be traced in the source code and they do not deeply alter the algorithm. When time permits (?!) I will rewrite the formal description of this algorithm.

Both algorithms are linear as demonstrated in my thesis. This was necessary given the complexity of musical structures and the relatively poor performance of machines in the late 1990s.

In terms of space, BP2 uses an array of 'time-objects' but the size of this array is minimized by the quantization process. I was quite lucky to implement this process at the 'symbolic level', which meant modifying the polymetric expression before spreading its objects over the phase table. This is perhaps the best reason for using polymetric representation.

I am certain that the time-setting could be worked out in many other interesting ways. I designed it with a particular notion of sound-object, but more elaborated ones could be implemented provided that their description is accessible to a user-friendly editor or built up by appropriate algorithms.

Sorry for not being very helpful... Please keep in touch as I am quite interested in new theoretical approaches!

All the best

Bernard Bel


>Hi Jacob,
>
>I don't know too much about concurrency or the details of BP2's internal
>algorithms.  (The grammar, polymetric expr, and time-setting algs are all
>quite complex and I have never been able to look at them in depth).  I do
>wonder if parallel evaluation of polymetric expressions could work but I
>don't really know that it couldn't and perhaps you already have some ideas
>about how to do that.
>
>I do believe that BP2's algorithms are rather unique, so there are not other
>examples to work from.  I'm sure that these algs are rather linear.  Perhaps
>finding some unrelated examples of how to take some standard "linear"
>algorithms and transform them to take advantage of Erlang would be useful.
>
>But if you need help navigating the BP code, please ask and I will do my
>best to answer.  There are a lot of globals and stuff that I have slowly
>come to understand the purposes of.  Also, a lot of the main data structures
>are obscured a little by the fact that Mac Classic programming used handles
>instead of pointers when allocating memory (eg.  char** instead of char*).
>So, you will see a lot of expressions like (*((*foo)[i].bar))[j] which would
>be similar to foo[i].bar[j] if regular pointers were used.
>
>I do have a question.  Are the articles you mentioned available online?  I'd
>like to read them myself.
>
>Best,
>Anthony
>
>Jacob Glenn wrote on 11/12/08 10:28 AM:
>
>> I'm just getting started on an Erlang application that incorporates some
>> ideas from Bol Processor. The goal is to have true concurrent polyphony,
>> where every concurrent sound object runs in its own process and musical
>> events are messages passed between processes and timestamped using a logical
>> clock algorithm. I'm not necessarily interested in grammars, but I am hoping
>> to take BP2's polymetric expressions, the time-setting algorithm, etc. and
>> adapt them to Erlang's concurrency model. This will require reworking those
>> algorithms to use timestamped messages rather than the arrays, tables, and
>> other C data structures that BP2 uses.
>>
>> Unfortunately I don't have a lot of guidance as I haven't seen another
>> application that does anything remotely similar to what I'm trying to do.
> > I've done a limited amount of spelunking in the BP2 source code, but I am
>> not much of a C programmer. I've read all of Bernard Bel's English
>> publications (unfortunately I don't read French). The articles that have
> > been especially helpful so far have been "Two algorithms for the
> > instantiation of structures of musical objects" and "Time and musical
>> structures."
>>
> > Can anyone recommend other literature or software I should look at?

Re: [bp-dev] Implementing BP2 concepts in a pure message-passing language?

[Anthony K. <mai...@an...>]

Hi Jacob, 

I don't know too much about concurrency or the details of BP2's internal
algorithms.  (The grammar, polymetric expr, and time-setting algs are all
quite complex and I have never been able to look at them in depth).  I do
wonder if parallel evaluation of polymetric expressions could work but I
don't really know that it couldn't and perhaps you already have some ideas
about how to do that.

I do believe that BP2's algorithms are rather unique, so there are not other
examples to work from.  I'm sure that these algs are rather linear.  Perhaps
finding some unrelated examples of how to take some standard "linear"
algorithms and transform them to take advantage of Erlang would be useful.

But if you need help navigating the BP code, please ask and I will do my
best to answer.  There are a lot of globals and stuff that I have slowly
come to understand the purposes of.  Also, a lot of the main data structures
are obscured a little by the fact that Mac Classic programming used handles
instead of pointers when allocating memory (eg.  char** instead of char*).
So, you will see a lot of expressions like (*((*foo)[i].bar))[j] which would
be similar to foo[i].bar[j] if regular pointers were used.

I do have a question.  Are the articles you mentioned available online?  I'd
like to read them myself.

Best,
Anthony 

Jacob Glenn wrote on 11/12/08 10:28 AM:

> I'm just getting started on an Erlang application that incorporates some
> ideas from Bol Processor. The goal is to have true concurrent polyphony,
> where every concurrent sound object runs in its own process and musical
> events are messages passed between processes and timestamped using a logical
> clock algorithm. I'm not necessarily interested in grammars, but I am hoping
> to take BP2's polymetric expressions, the time-setting algorithm, etc. and
> adapt them to Erlang's concurrency model. This will require reworking those
> algorithms to use timestamped messages rather than the arrays, tables, and
> other C data structures that BP2 uses.
> 
> Unfortunately I don't have a lot of guidance as I haven't seen another
> application that does anything remotely similar to what I'm trying to do.
> I've done a limited amount of spelunking in the BP2 source code, but I am
> not much of a C programmer. I've read all of Bernard Bel's English
> publications (unfortunately I don't read French). The articles that have
> been especially helpful so far have been "Two algorithms for the
> instantiation of structures of musical objects" and "Time and musical
> structures."
> 
> Can anyone recommend other literature or software I should look at?

Re: [bp-dev] Universal binary available for testing

[Anthony K. <mai...@an...>]

Thanks for these details, Rainer.  I think that I will try installing those
two programs on my computer to see if I can reproduce this.  The fact that
you see more than two filter entries suggests that there is a bug in my code
on Intel or that the operating system is taking the liberty of adding more
document types that it thinks are appropriate.  The former seems more
likely, but I will check it out.

Anthony

Rainer Schuetz wrote on 11/12/08 2:42 AM:

>> However, I only see "BP2 script" and "text" (and "All Readable
>> Documents")
> 
> I see:
> 
> All Readable Documents
> ----
> BP2 script
> text
> PLT Scheme program source
> PLT Scheme documentation source
> SC3 text file
> 
> I have both DrScheme and SuperCollider installed on my machine, so it
> seems most probable to me that this dialogue offers file-formats that
> are registered somewhere locally ... - maybe not an Intel issue as such?

Re: [bp-dev] Fixed excessive CPU usage

[Rainer S. <rs...@ba...>]

Hi Anthony,

> I hope that this solves the fan problems that Jacob and Rainer were  
> having!

I think it does! In idle mode BP2 stays around 1.5% CPU consumption  
now! Great and quick!!!

I can't notice any delay of the mouse...

Other things one should pay attention to at this point? It seems the  
menu's don't always behave as one would expect? (e.g. action/play,  
stop resume ...)

Best
Rainer


On 12.11.2008, at 23:14, Anthony Kozar wrote:

> I've made some changes that have significantly reduced BP2's CPU  
> usage when
> it is "idling".  It now only uses 2-5% of CPU time for me when not  
> compiling
> files or producing items and sleeps for up to half a second at a  
> time when
> the user is not interacting with BP2.  It does seem to get plenty of  
> CPU
> when doing anything intensive but more testing is needed to ensure  
> that
> important computational tasks are not unduly slowed down.
>
> One side effect of the changes is that BP2 is slower when responding  
> to
> mouse movement and so the cursor will not change as quickly when  
> moving
> between editable text and other areas of its windows.  There also  
> seems to
> be a short delay at the end of producing items before they begin to  
> play
> that was not there before.  The sleep time values could probably be  
> tweaked
> a little more to alleviate these issues or other remedies could be  
> tried.
>
> I hope that this solves the fan problems that Jacob and Rainer were  
> having!
>
> Here it is:
>
> http://anthonykozar.net/files/BolProcessor/BP2-ub-20081112.dmg
>
> There is no rush, bu please let me know if there are any more  
> problems.
>
> Anthony
>
>
> -------------------------------------------------------------------------
> This SF.Net email is sponsored by the Moblin Your Move Developer's  
> challenge
> Build the coolest Linux based applications with Moblin SDK & win  
> great prizes
> Grand prize is a trip for two to an Open Source event anywhere in  
> the world
> http://moblin-contest.org/redirect.php?banner_id=100&url=/
> _______________________________________________
> bolprocessor-devel mailing list
> bol...@li...
> https://lists.sourceforge.net/lists/listinfo/bolprocessor-devel

[bp-dev] Fixed excessive CPU usage

[Anthony K. <mai...@an...>]

I've made some changes that have significantly reduced BP2's CPU usage when
it is "idling".  It now only uses 2-5% of CPU time for me when not compiling
files or producing items and sleeps for up to half a second at a time when
the user is not interacting with BP2.  It does seem to get plenty of CPU
when doing anything intensive but more testing is needed to ensure that
important computational tasks are not unduly slowed down.

One side effect of the changes is that BP2 is slower when responding to
mouse movement and so the cursor will not change as quickly when moving
between editable text and other areas of its windows.  There also seems to
be a short delay at the end of producing items before they begin to play
that was not there before.  The sleep time values could probably be tweaked
a little more to alleviate these issues or other remedies could be tried.

I hope that this solves the fan problems that Jacob and Rainer were having!

Here it is:

http://anthonykozar.net/files/BolProcessor/BP2-ub-20081112.dmg

There is no rush, bu please let me know if there are any more problems.

Anthony

[bp-dev] Implementing BP2 concepts in a pure message-passing language?

[Jacob G. <jk...@um...>]

Hi all,

I'm just getting started on an Erlang application that incorporates some
ideas from Bol Processor. The goal is to have true concurrent polyphony,
where every concurrent sound object runs in its own process and musical
events are messages passed between processes and timestamped using a logical
clock algorithm. I'm not necessarily interested in grammars, but I am hoping
to take BP2's polymetric expressions, the time-setting algorithm, etc. and
adapt them to Erlang's concurrency model. This will require reworking those
algorithms to use timestamped messages rather than the arrays, tables, and
other C data structures that BP2 uses.

Unfortunately I don't have a lot of guidance as I haven't seen another
application that does anything remotely similar to what I'm trying to do.
I've done a limited amount of spelunking in the BP2 source code, but I am
not much of a C programmer. I've read all of Bernard Bel's English
publications (unfortunately I don't read French). The articles that have
been especially helpful so far have been "Two algorithms for the
instantiation of structures of musical objects" and "Time and musical
structures."

Can anyone recommend other literature or software I should look at?

Many thanks,
Jake

Re: [bp-dev] Universal binary available for testing

[Rainer S. <rs...@ba...>]

> However, I only see "BP2 script" and "text" (and "All Readable  
> Documents")

I see:

All Readable Documents
----
BP2 script
text
PLT Scheme program source
PLT Scheme documentation source
SC3 text file

I have both DrScheme and SuperCollider installed on my machine, so it  
seems most probable to me that this dialogue offers file-formats that  
are registered somewhere locally ... - maybe not an Intel issue as such?

Best
Rainer

On 11.11.2008, at 22:14, Anthony Kozar wrote:

> Hmmm ... I assume SC3 means SuperCollider3 too.
>
> However, I only see "BP2 script" and "text" (and "All Readable  
> Documents")
> in this menu and that is all that you should see.  Are "PLT scheme"  
> and "SC3
> text-file" additional items in the menu you are seeing or do they  
> replace
> the two items that I mentioned?  If they are additional then I  
> suspect a bug
> in BP2 on Intel machines.  If they replace the correct names, then  
> it might
> be possible that something strange is going on in your Finder  
> database.
>
> Thanks for reporting this issue.
>
> Anthony
>
> Rainer Schuetz wrote on 11/11/08 8:41 AM:
>
>> one question out of curiousity: in the file open dialogue for scripts
>> I can choose among filters for different file types. There I see PLT
>> scheme and *SC3* text-file. What does SC3 stand for? It couldn't mean
>> SuperCollider3, could it?
>
>
> -------------------------------------------------------------------------
> This SF.Net email is sponsored by the Moblin Your Move Developer's  
> challenge
> Build the coolest Linux based applications with Moblin SDK & win  
> great prizes
> Grand prize is a trip for two to an Open Source event anywhere in  
> the world
> http://moblin-contest.org/redirect.php?banner_id=100&url=/
> _______________________________________________
> bolprocessor-devel mailing list
> bol...@li...
> https://lists.sourceforge.net/lists/listinfo/bolprocessor-devel

Re: [bp-dev] Universal binary available for testing

[Bernard B. <ber...@gm...>]

Anthony :

>I suggest that you don't worry about running the checkall script.  It takes
>a _very_ long time (20-30 min) and makes a lot of strange noises ;-)  I'm
>sure that Bernard will run it on an Intel machine when he has a chance.


I will certainly do it. I have been used to reading the traces of that script for a long time now...

It is great news that you already got it running on an Intel Mac!  I was not able to check because my access to a recent iMac is restricted to Thursdays. So, I will set up the test machine the day after to-morrow to check BP2 running with Pianotech.

Bernard Bel

Re: [bp-dev] Universal binary available for testing

[Anthony K. <mai...@an...>]

Hmmm ... I assume SC3 means SuperCollider3 too.

However, I only see "BP2 script" and "text" (and "All Readable Documents")
in this menu and that is all that you should see.  Are "PLT scheme" and "SC3
text-file" additional items in the menu you are seeing or do they replace
the two items that I mentioned?  If they are additional then I suspect a bug
in BP2 on Intel machines.  If they replace the correct names, then it might
be possible that something strange is going on in your Finder database.

Thanks for reporting this issue.

Anthony 

Rainer Schuetz wrote on 11/11/08 8:41 AM:

> one question out of curiousity: in the file open dialogue for scripts
> I can choose among filters for different file types. There I see PLT
> scheme and *SC3* text-file. What does SC3 stand for? It couldn't mean
> SuperCollider3, could it?

Re: [bp-dev] Universal binary available for testing

[Rainer S. <rs...@ba...>]

On 11.11.2008, at 21:42, Anthony Kozar wrote:

> Thanks again for your help!!

You're more than welcome!

Best
Rainer