DOCSLIB.ORG

Pure-Data-Manual.Pdf

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Pure-Data-Manual.Pdf Table of Contents Pure Data............................................................................................................................................................1 What is real-time graphical programming?....................................................................................................2 Graphical Programming...........................................................................................................................2 Real Time................................................................................................................................................2 Installing on Mac OS X......................................................................................................................................3 Installing on Microsoft Windows......................................................................................................................6 Installing Pure Data on Ubuntu......................................................................................................................16 Installing libflac7 and libjasper.............................................................................................................16 Installing Pure Data...............................................................................................................................18 Installing Pure Data on Debian.......................................................................................................................21 Configuring Pure Data....................................................................................................................................25 Basic Configuration...............................................................................................................................25 Audio drivers..................................................................................................................................25 MIDI drivers (Linux only).............................................................................................................26 Audio Settings.................................................................................................................................26 Sample rate......................................................................................................................................26 Delay (msec)...................................................................................................................................26 Input Device...................................................................................................................................27 Output Device.................................................................................................................................27 MIDI Settings.................................................................................................................................27 Test Audio and MIDI.....................................................................................................................28 Advanced Configuration........................................................................................................................28 Startup Flags...................................................................................................................................30 Path..................................................................................................................................................31 Platform-Specific Configuration Tools...........................................................................................32 Starting Pure Data...........................................................................................................................................35 Starting PD with the Clickable Icon.....................................................................................................35 Starting Pd via Command Line.............................................................................................................35 Linux (from xterm).........................................................................................................................35 Mac OSX (from Terminal.app)......................................................................................................35 Windows (from the DOS shell or Command Prompt)..................................................................35 Starting Pd from a Script.......................................................................................................................36 Windows..........................................................................................................................................37 Linux and OS X...............................................................................................................................37 Advanced Scripting for Starting Pd.......................................................................................................37 The Interface....................................................................................................................................................39 The main PD window............................................................................................................................39 Starting a New Patch..............................................................................................................................40 Interface Differences in Pure Data.........................................................................................................41 Linux...............................................................................................................................................41 Mac OS X........................................................................................................................................41 Placing, Connecting and Moving Objects in the Patch..........................................................................42 Edit Mode and Play Mode.....................................................................................................................45 Messages, Symbols and Comments.......................................................................................................47 GUI Objects...........................................................................................................................................48 GUI Object Properties.....................................................................................................................49 i Table of Contents The Interface Arrays and graphs..................................................................................................................................50 Graph...............................................................................................................................................51 A Note on using GUI Objects................................................................................................................51 Troubleshooting...............................................................................................................................................52 I don't hear any sound!..........................................................................................................................52 There are clicks, glitches or crackles in the test tone!..........................................................................52 The test tone sounds distorted!.............................................................................................................52 I'm not seeing any audio input!.............................................................................................................52 I don't see any MIDI input!...................................................................................................................52 I get the message "... couldn't create" when I type an object's name and there's a dashed line around my object!.................................................................................................................................52 I get the message "... couldn't create" when I open a patch and there's a dashed line around my object! ..................................................................................................................................................53 I get the message "error: signal outlet connect to nonsignal inlet (ignored)" when I open a patch. .....53 I get the message "error: can't connect signal outlet to control inlet" and I cannot connect two objects together!....................................................................................................................................53 I get the message"error: DSP loop detected (some tilde objects not scheduled)" when I click "Audio ON", and the sound is not working!.........................................................................................53 I get the message "error: stack overflow" when I connect two Dataflow Objects together!.................54 I get the error message "connecting stream socket: Network is unreachable" when I start Pd!............54 What is digital audio? ......................................................................................................................................56 Frequency and Gain...............................................................................................................................56
Load more

Recommended publications
  • Synchronous Programming in Audio Processing Karim Barkati, Pierre Jouvelot
    Synchronous programming in audio processing Karim Barkati, Pierre Jouvelot To cite this version: Karim Barkati, Pierre Jouvelot. Synchronous programming in audio processing. ACM Computing Surveys, Association for Computing Machinery, 2013, 46 (2), pp.24. 10.1145/2543581.2543591. hal- 01540047 HAL Id: hal-01540047 https://hal-mines-paristech.archives-ouvertes.fr/hal-01540047 Submitted on 15 Jun 2017 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. A Synchronous Programming in Audio Processing: A Lookup Table Oscillator Case Study KARIM BARKATI and PIERRE JOUVELOT, CRI, Mathématiques et systèmes, MINES ParisTech, France The adequacy of a programming language to a given software project or application domain is often con- sidered a key factor of success in software development and engineering, even though little theoretical or practical information is readily available to help make an informed decision. In this paper, we address a particular version of this issue by comparing the adequacy of general-purpose synchronous programming languages to more domain-specific
    [Show full text]
  • Jaromil's Research 2009
    Jaromil’s Research 2009 Jaromil’s Journal of Musings November 12, 2010 Almost every day I dedicate 2 good hours to research: nothing in particular, just looking around for inspirations, tools, publications and what not. Thanks go to the NIMk1 employing me in research and development. This diary is still in fieri: some links are scattered and still lacking comments, while it will grow complete over time, you might be also interested to read the research diary 20082. : Mon, 5 Jan 2009 John Maddog Hall: http://www.linux-magazine.com/online/blogs/paw_prints_writings_of_the_ maddog/campus_party_brazil_maddog_s_challenge_multimedia_and_free_software : Wed, 7 Jan 2009 uscito zeitgeist final ??? Not quite in the zone Fri, 9 Jan 2009 http://www.metamute.org/en/content/not_quite_in_the_zone Ben Watson http://www.militantesthetix. co.uk/ Politics in Israel Tue, 13 Jan 2009 Just before the elections in Israel and right after the massacre of civilians in Gaza, which also included bombing of UN headquarters and public incitations to murder peace activists3, it’s maybe time to have a look at how reasonable people are doing over there. One impressive campaign is December 18th4: at the motto of FREE THE SHMINISTIM“ young conscious objectors (among them also the daughter of a former deputy head of Mossad) stepped forward and refused to serve the omnipresent militarization of Israel, the country where they are born and that still forces them to serve IDF for 2 to 3 years. Since 20 years now (and finally) we had abolition of coercive military service for youth in Europe: this is definitely one of the most important political standpoints for Israel to work on, if it intends to get closer to Europe.
    [Show full text]
  • Essentiellement À Partir Du Pdf De FLOSS+Art (Goto10)
    Libre Essentiellement à partir du pdf de FLOSS+art (Goto10) Monopole de ... Distributions Linux 354 distributions sur DistroWatch, dont 6 ou 7 dédiées aux artistes : APODIO, PureDyne, Dynebolic, Ubuntu Studio, ... Difficultés de l'évolution de Linux ● Conflits internes, intolérance, mauvaise manière ● Driver (carte graphique, etc.) ● Documentation (ça s'améliore) : Flossmanual, framasoft, siteduzero, doc-ubuntu, etc. ● Friendly (ça s'améliore) : Ubuntu, environnement graphique de bureau (Gnome, KDE, XFCE, …) ● Logiciel vidéo ● Mise à jour (PulseAudio, Jack) Avantages ● Gratuit (dons) ● Mise à jour régulières ● Installation des logiciels ++ facile ● Communauté active ● Acteur (doc, support, demandes, ecrire), maîtrise de son environnement. ● Stable, sécurité (virus ?) ● Audience ++ ● Humanisme, alternative, accès « conscient » (démocratie) Historique ● Gnu project : Richard Stallman 1983-1991 ● GNU IS NOT UNIX ● Free software fundation : 4 libertés ● Open Source : + efficace (Eric Raymond), vision + utilitariste. ● 2 notions différentes. ● 1991 Linus Torvald : kernel Linux sous GPL. >>> JUSTE A TEMPS ! ● Figure du Hacker Libre / propriétaire ● Propriétaire / privateur / enclosure ● = + professionnel, + emplyable ● Read made problem solvers Libre / propriétaire ● Productivité - ● Peur - ● Politique + ● Démystification + (YOU ARE CAPABLE) ● Compétences + (transdisciplinaire, capacité d'apprentissage) ● Partage ● Continuous open artistic research Choix ● CD Live ● Ou installation multiboot ● De quoi avez-vous besoin ? Droits / Licences ● Libre
    [Show full text]
  • LAC-07 Proceedings
    LINUX AUDIO CONFERENCE BERLIN Lectures/Demos/Workshops Concerts/LinuxSoundnight P roceedin G S TU-Berlin 22.-25.03.07 www.lac.tu-berlin.de5 Published by: Technische Universität Berlin, Germany March 2007 All copyrights remain with the authors www.lac.tu-berlin.de Credits: Cover design and logos: Alexander Grüner Layout: Marije Baalman Typesetting: LaTeX Thanks to: Vincent Verfaille for creating and sharing the DAFX’06 “How to make your own Proceedings” examples. Printed in Berlin by TU Haus-Druckerei — March 2007 Proc. of the 5th Int. Linux Audio Conference (LAC07), Berlin, Germany, March 22-25, 2007 LAC07-iv Preface The International Linux Audio Conference 2007, the fifth of its kind, is taking place at the Technis- che Universität Berlin. We are very glad to have been given the opportunity to organise this event, and we hope to have been able to put together an interesting conference program, both for developers and users, thanks to many submissions of our participants, as well as the support from our cooperation partners. The DAAD - Berliner Künstlerprogramm has supported us by printing the flyers and inviting some of the composers. The Cervantes Institute has given us support for involving composers from Latin America and Spain. Tesla has been a generous host for two concert evenings. Furthermore, Maerz- Musik and the C-Base have given us a place for the lounge and club concerts. The Seminar für Medienwissenschaften of the Humboldt Universität zu Berlin have contributed their Signallabor, a computer pool with 6 Linux audio workstations and a multichannel setup, in which the Hands On Demos are being held.
    [Show full text]
  • Audio Visual Instrument in Puredata
    Francesco Redente Production Analysis for Advanced Audio Project Option - B Student Details: Francesco Redente 17524 ABHE0515 Submission Code: PAB BA/BSc (Hons) Audio Production Date of submission: 28/08/2015 Module Lecturers: Jon Pigrem and Andy Farnell word count: 3395 1 Declaration I hereby declare that I wrote this written assignment / essay / dissertation on my own and without the use of any other than the cited sources and tools and all explanations that I copied directly or in their sense are marked as such, as well as that the dissertation has not yet been handed in neither in this nor in equal form at any other official commission. II2 Table of Content Introduction ..........................................................................................4 Concepts and ideas for GSO ........................................................... 5 Methodology ....................................................................................... 6 Research ............................................................................................ 7 Programming Implementation ............................................................. 8 GSO functionalities .............................................................................. 9 Conclusions .......................................................................................13 Bibliography .......................................................................................15 III3 Introduction The aim of this paper will be to present the reader with a descriptive analysis
    [Show full text]
  • Pdates Actuator’S Outputs
    M2 ATIAM – IM Graphical reactive programming Esterel, SCADE, Pure Data Philippe Esling [email protected] 1 M2 STL – PPC – UPMC First thing’s first Today we will see reactive programming languages • Theory • ESTEREL • SCADE • Pure Data However our goal is to see how to apply this to musical data (audio) and real-time constraints Hence all exercises are done with Pure Data • Pure data is open source, free and cross-platform • Works as Max/Msp (have almost all same features) • Can easily be embedded on UDOO cards (special distribution) So go now to download it and install it right away https://puredata.info/downloads/pure-data 2 M2 STL – PPC – UPMC Reactive programming: Basic notions Goals and aims Here we aim towards creating critical, reactive, embedded software. 3 M2 STL – PPC – UPMC Reactive programming: Basic notions Goals and aims Here we aim towards creating critical, reactive, embedded software. The mandatory notions that we should get first are • Embedded • Critical • Safety • Reactive • Determinism 4 M2 STL – PPC – UPMC Reactive programming: Basic notions Goals and aims Here we aim towards creating critical, reactive, embedded software. The mandatory notions that we should get first are ? • Embedded • Critical • Safety • Reactive • Determinism 5 M2 STL – PPC – UPMC Reactive programming: Basic notions Goals and aims Here we aim towards creating critical, reactive, embedded software. The mandatory notions that we should get first are • Embedded An embedded system is a computer • Critical system with a dedicated function • Safety within a larger mechanical or • Reactive electrical system, often with real- • Determinism time computing constraints. 6 M2 STL – PPC – UPMC Reactive programming: Basic notions Goals and aims Here we aim towards creating critical, reactive, embedded software.
    [Show full text]
  • Kronos Reimagining Musical Signal Processing
    Kronos Reimagining Musical Signal Processing Vesa Norilo March 14, 2016 PREFACE First of all, I wish to thank my supervisors; Dr. Kalev Tiits, Dr. Marcus Castrén and Dr. Lauri Savioja,thanks for guidanceand acknowledgements and some necessary goading. Secondly; this project would never have materialized without the benign influence of Dr Mikael Laurson and Dr Mika Kuuskankare. I learned most of my research skills working as a research assistant in the PWGL project, which I had the good fortune to join at a relatively early age. Very few get such a head start. Most importantly I want to thank my family, Lotta and Roi, for their love, support and patience. Many thanks to Roi’s grandparents as well, who have made it possible for us to juggle an improb- able set of props: freelance musician careers, album productions, trips around the world, raising a baby and a couple of theses on the side. This thesis is typeset in LATEX with the Ars Classica stylesheet generously shared by Lorenzo Pantieri. This report is a part of the portfolio required for the Applied Studies Program for the degree of Doctorthe applied of Music. It studies consists of an program introductory portfolio essay, supporting appendices and six internationally peer reviewed articles. The portfolio comprises of this report and a software package, Kronos. Kronos is a programming language development environment designed for musical signal processing. The contributions of the package include the specification and implementation of a compiler for this language. Kronos is intended for musicians and music technologists. It aims to facilitate creation of sig- nal processors and digital instruments for use in the musical context.
    [Show full text]
  • Table of Contents Pure Data
    Table of Contents Pure Data............................................................................................................................................................1 Real Time Graphical Programming..................................................................................................................2 Graphical Programming...........................................................................................................................2 Real Time.................................................................................................................................................3 What is digital audio? ........................................................................................................................................4 Frequency and Gain.................................................................................................................................4 Sampling Rate and Bit Depth..................................................................................................................4 Speed and Pitch Control..........................................................................................................................5 Volume Control, Mixing and Clipping....................................................................................................6 The Nyquist Number and Foldover/Aliasing...........................................................................................6 DC Offset.................................................................................................................................................7
    [Show full text]
  • Distributed Musical Decision-Making in an Ensemble of Musebots: Dramatic Changes and Endings
    Distributed Musical Decision-making in an Ensemble of Musebots: Dramatic Changes and Endings Arne Eigenfeldt Oliver Bown Andrew R. Brown Toby Gifford School for the Art and Design Queensland Sensilab Contemporary Arts University of College of Art Monash University Simon Fraser University New South Wales Griffith University Melbourne, Australia Vancouver, Canada Sydney, Australia Brisbane, Australia [email protected] [email protected] [email protected] [email protected] Abstract tion, while still allowing each musebot to employ different A musebot is defined as a piece of software that auton- algorithmic strategies. omously creates music and collaborates in real time This paper presents our initial research examining the with other musebots. The specification was released affordances of a multi-agent decision-making process, de- early in 2015, and several developers have contributed veloped in a collaboration between four coder-artists. The musebots to ensembles that have been presented in authors set out to explore strategies by which the musebot North America, Australia, and Europe. This paper de- ensemble could collectively make decisions about dramatic scribes a recent code jam between the authors that re- structure of the music, including planning of more or less sulted in four musebots co-creating a musical structure major changes, the biggest of which being when to end. that included negotiated dynamic changes and a negoti- This is in the context of an initial strategy to work with a ated ending. Outcomes reported here include a demon- stration of the protocol’s effectiveness across different distributed decision-making process where each author's programming environments, the establishment of a par- musebot agent makes music, and also contributes to the simonious set of parameters for effective musical inter- decision-making process.
    [Show full text]
  • Procedural Sequencing 1 Göran Sandström
    Procedural Sequencing 1 Göran Sandström Bachelor Thesis Spring 2013 School of Health and Society Department Design and Computer Science Procedural Sequencing A New Form of Procedural Music Creation Author: Göran Sandström Instructor: Anders-Petter Andersson Examiner: Daniel Einarsson Procedural Sequencing 2 Göran Sandström School of Health and Society Department Design and Computer Science Kristianstad University SE-291 88 Kristianstad Sweden Author, Program and Year: Göran Sandström, Interactive Sound Design, 2010 Instructor: Anders-Petter Andersson, PhD. Sc., HKr Examination: This graduation work on 15 higher education credits is a part of the requirements for a Degree of Bachelor in Computer Science Title: Procedural Sequencing Language: English Approved By: _________________________________ Daniel Einarsson Date Examiner Procedural Sequencing 3 Göran Sandström Table of Contents List of Abbreviations and Acronyms............................................................................4 List of Figures...............................................................................................................4 Abstract.........................................................................................................................5 1. Introduction.............................................................................................6 1.1 Aim and Purpose.....................................................................................................6 1.2 Method....................................................................................................................6
    [Show full text]
  • Pure Data: Another Integrated Computer Music Environment
    Pure Data another integrated computer music environment Miller S Puckette Department of Music UCSD La Jolla Ca mspucsdedu c Kunitachi College of Music Reprinted from Pro ceedings Second Intercollege Computer Music Concerts Tachikawa pp May Abstract making software systems which were really usable by noncomputer scientists was addressed by the A new software system called Pure Data is in the Max program Max was an attempt to make early stages of development Its design attempts to a screenbased patching language that could imi remedy some of the deciencies of the Max program tate the mo dalities of a patchable analog synthesizer while preserving its strengths The most imp ortant Many other graphical patching languages had b een weakness of Max is the diculty of maintaining com prop osed that did not suciently address the real p ound data structures of the type that might arise time control asp ect and many other researchers had when analyzing and resynthesizing sounds or when by then prop osed much more sophisticated realtime recording and mo difying sequences of events of many control strategies without presenting a clear and fun dierent types Also it has proved hard to integrate touse graphical interface Max was in essence a com nonaudio signals video for instance and also au promise that got part way toward b oth goals dio sp ectra into Maxs rigid tilde ob ject system Finally the whole issue of maintaining two separate As so on as Philipp e Manourys Pluton was realized copies of all data structures one to edit and one to using
    [Show full text]
  • Co-Audicle: a Collaborative Audio Programming Space
    CO-AUDICLE: A COLLABORATIVE AUDIO PROGRAMMING SPACE Ge Wang Ananya Misra Philip Davidson Perry R. Cook† Princeton University Department of Computer Science (†also Music) ABSTRACT people, across a wide geography, build and play one in- strument. This is our primary motivation. The Co-Audicle describes the next phase of the Audi- There have been various research projects looking at cle’s development. We extend the Audicle to create a aspects of this type of collaboration. [2, 5, 1]. The Co- collaborative, multi-user interaction space based around Audicle’s focus is code and the act of programming audio the ChucK language. The Co-Audicle operates either in in a real-time, distributed environment. It is concerned client/server mode or as part of a peer-to-peer network. with the topology of the collaboration and the levels of We also describe new graphical and GUI-building func- guarantee about timing, synchronization, and interaction tionalities. We draw inspiration from both live interaction associated with each. software, as well as online gaming environments. The ChucK/Audicle framework provides a good plat- form and starting point for the Co-Audicle. ChucK pro- grams are strongly-timed, which means they can move to a new operating environment on another host, and find out 1. INTRODUCTION AND MOTIVATION and manipulate time appropriately. ChucK programs are a concise way to describe sound synthesis very precisely. Co-Audicle describes the next phase of the Audicle’s de- The latter is useful in that many sounds or passages can velopment. We extend the environment described in the be transmitted in place of actual audio, greatly reducing Audicle [8] to create a collaborative, multi-user interac- need for sustained bandwidth.
    [Show full text]