*** MUS171 #01 01 04 

 

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[0:45] Miller: The purpose of this course is to show you how to

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-- well, "show" I'm not sure is the right word -- is to enable you to make your own computer music applications, in the sense of designing electronic music instruments.

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[1:02] What that means, in a sense, is making your computer do what a guitar or a drum set does when you do things to it, so that the thing is running in real time.

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It's making sound, and you walk up to it and do things to it, and that changes the sound that it makes.

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For instance, it might be silent until you start doing something and then it starts making noise.

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 Then you've got an instrument that does something that responds to how you're trying to get it to do things.

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[1:28] So this is a particular...

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This thing, this idea of using computers to make computer music instruments is, in some sense, sort of the trunk of the whole field of computer music, at least the way I see it.

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Computer music grew out of, or maybe it's a part of, the field which could be called electronic music, which started, depending on how you think of it, maybe in the late 1800s -- maybe in 1948 when the first tape recorder music started getting made.

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Well, you could put other kinds of dates on it.

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[2:04] And the whole field of electronic music is basically people inventing ways of making music with electronic gear as opposed to acoustic instruments.

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It wasn't obvious, at first, when computers showed up on the scene that computers would eventually, essentially, supplant all of the other electronic musical instruments that exist, which means the tape recorder, the synthesizer, all that kind of good stuff.

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[2:31] But nowadays, everything that you could have found in an electronic music studio in the '50s, or '60s, or the '90s is a piece of software on a screen on your computer with a couple of very important provisos.

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Proviso number one is that a computer makes a rotten musical instrument in the sense that you can't strum it, or whap it, or any of those good things that you can do with acoustic instruments.

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[2:54] I'm not going to do a whole lot of talking about designing hardware interfaces for making computers that respond more naturally to musical impulses.

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 The reason I'm not going to talk about that is because it's its own subject.

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 And it's also a rather various subject.

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 Different people have completely different approaches to designing interfaces to computers.

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It's such a wide, disorganized field that it's hard to figure out how to make a syllabus out of it in the first place.

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[3:21] So I'm just sort of going to ignore that and, to the extent that I need to actuate my computer, I'm going to be using keyboards, and a mouse, and the microphone.

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 All right.

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So other than that aspect of just getting inputs into the computer, I think that everything that you do now in electronic music, you at least can do on your computer.

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So a couple of things about that, OK.

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First off, what does making music with computers split up into as a set of things that you can do?

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[3:58] And my own taxonomy of what you do with computers to make them into computer instruments are that there are three basic things that you might want to know how to do.

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 One is synthesize sounds.

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What that means, at least what that means to me, is that you write down an algebraic equation and it has a variable in it for time.

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[4:19] As time passes you just plug different numbers into the time slot, and out comes a sinusoid or whatever it is that you told the equation to make, and then you get to hear it, right?

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[4:28] And if you came up studying mathematics like I did, this is paradise, right? Any equation you can think of, you can listen to.

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So that is synthesis, synthesizing sound.

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That comes out of a long tradition of making stuff, like oscillators and filters that have existed for at least 100 years for doing that, before computers really came on the computer music scene.

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[4:53] A second thing is what I think people usually call either processing or signal processing, which is a misnomer because signal processing means many other things besides what it means to computer musicians.

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But at least if you're in a room with computer musicians and when someone says signal processing, what they tend to mean is something that takes a sound in and changes it into something else to go out.

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[5:18] The most ubiquitous example, I think, is sampling, where you take a microphone up to something and make a recording, and then you have a button that you press that plays it back.

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 And the only transformation is that you heard it at a different time from when you recorded it.

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That's a perfect transformation, right?

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[5:38] In chapter seven, I think it is, you will find all sorts of things to do with that particular kind of transformation.

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 OK.

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 That's item number two.

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 One was synthesis.

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 Two is signal processing.

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[5:52] Three is analysis, the idea of taking a sound that goes in and boiling it down to a set of parameters that describes what that sound is, or some aspect of what that sound is.

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A very simple example of that is an envelope follower, which will tell you whether someone started playing an instrument or not, or more generally, tell you whether there seems to be sound coming into a microphone right now or not.

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[6:15] And you would use that, for instance, if you wanted to find out if someone was walking into a room so you could turn the lights on automatically

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. Put up a microphone, hook it into an envelope follower, and then have it turn the lights on when the amplitude of the sound reaches a certain level.

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 So that's analysis.

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[6:34] That doesn't sound as interesting as synthesis or processing because there's no sound output, there's just sound input.

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 I hope you'll find out that there's a whole world of cool stuff you can do with that as well.

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[6:47] In terms of mental block-diagrams, if you want to think about what this all means:

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[6:52] Synthesis is, you have a box and it has an output.

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 But the input was something that isn't sound; the output is sound.

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[6:57] Analysis is, you have a box that has a sound input but not an output, and then

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[7:02] Processing is a thing where you have both input and output.

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[7:08] What I'm going to do to start with is start with synthesis because it's the easiest thing to get your computers to do.

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 Why? Because it's much easier to deal with speakers than it is to deal with microphones for reasons that I don't really understand very well.

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 But I want to give you some time to get used to how to get your microphones and your computers to be friends.

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[7:31] That might make it more appropriate to wait a few weeks before, or however many weeks we can afford to wait, before we start doing that kind of stuff...

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And just to make the gesture, I didn't bring a microphone today, although there will be microphones in the room later on.

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[7:48] What do I have to tell you? I have to tell you some organizational things about the course that are boring but that you need to know.

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There's a website, and the website tells you all the boring stuff that you need to know about the course.

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 The website will somewhat change in time.

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What it does now is it tells you, week by week, what I believe the topics to be that this course will consist of.

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[8:18] Most of the time I'm actually able to do what I was planning to do, but sometimes it has to change for one reason or another.

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So this is not a guarantee that this is what we're going to manage to do, but hopefully it's what we'll do.

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[8:35] What you'll find is that as the quarter drags on there are going to be a certain number of assignments, which are things that you have to do with a computer that demonstrate that you have mastered one or another technique that is the topic of the week.

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The first one of these is due a week from Thursday, that's to say Thursday of week two, and that is a tight deadline.

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The assignment itself is very simple, I hope.

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[9:03] What that requires you to do is get software loaded onto your computer and figure out how to deal with the mechanisms for turning homework in, which you probably know better than I do.

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 But leave time to figure all this stuff out.

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 What this means is that you should be doing this right now so that when things start going wrong you can ask for help and you can try to figure out what to do to get things to work for you.

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[9:33] To that end, there are office hours.

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Both Joe, the teaching assistant, and I will have office hours on Tuesdays because the homework is going to be due on Thursdays.

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 I think that's the most effective way of running it.

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 Joe will be here but I'm not sure in what room yet.

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The room number, I think, might be changing, but he will be here from 2:

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[9:46] 00 to 3:00 on Tuesdays.

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I will be here after classes on Tuesdays, which will be when I find everyone most exhausted.

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Anyway, that's another possible way to find out what's going on.

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[10:10] The course has a textbook, sort of.

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Again, the textbook is -- where did I put it? The textbook is online, and it doesn't look like a book, but here's a PDF version and a PostScript version, and then there's a nice HTML version.

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You can even download a nice tarball with the HTML version, and you can download all the examples that are described in the book, which are patches in PD.

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[10:41] Or you can download -

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- don't do this -- download all the figures in the book, which are also patches in PD, if you really want to laugh at what PD can do.

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 It would be hard to do it quick.

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So that is textbook, and what I'm going to try to do, although I've been-- Yeah?

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[10:59] Student:  What's the website?

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[11:00] Miller:  Oh.

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 What's the website? The URL is here.

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 That's the URL you want.

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Although, you can get there very easily because you Google "Puckette" and then you see Courses, and then you see the first one is Music 171.

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[11:28] I didn't want to insult your intelligences by printing out the syllabus.

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Well, actually, if you have trouble accessing the web, come see me and I'll print you out a copy

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 . But it won't help you so much because it's going to change.

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[11:44] On that subject, I want to not forget to say one thing, which is if you don't have easy access to a computer and/or the network, please come see me after class today so that we can figure out how to get that solved.

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 There are various things that we can do to try to get you to a computer.

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 I don't know what it's going to be yet because we'll just have to do it case by case.

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[12:05] The polls say that 99 percent of students now have computers, so I'm going to assume that you do until you tell me that you don't.

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If you don't, do please come tell me because otherwise you will be in serious trouble, and it is fixable.

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OK, so that's the course web page.

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[12:27] The next thing, this is what you know more about than I do.

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The system for turning in assignments is WebCT, which probably all of you have suffered through.

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 Right?

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[laughter]

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[12:38] Yeah.

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I last touched this in 2004, and it was a real bear.

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 I think they've made it a little better now.

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 It's actually better than anything else that I've seen.

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[12:51] The reason it has to exist at all, as opposed to just having everyone put homework up on a wiki, is because legally we're not allowed to let other people see your homework assignments.

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The whole thing is basically just to protect confidentiality, as far as I can tell.

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 There's no other reason to have all this infrastructure.

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[13:09] In fact, I would love it if one of you could try this.

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If one of you who actually is online, if you could actually go to WebCT and see if you can log in to the course.

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 So this is the WebCT login.

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Actually, I think you do webct.ucsd.edu.

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 It's not going to do this for you what it does for me.

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[13:33] Student:  It's not showing up.

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[13:35] Miller:  It's not showing up? In what sense?

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[13:38] Student:  : After you log in it tells you what classes you have on WebCT.

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 It's not on that page.

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[13:42] Miller:  And you don't have 171 as one of your classes?

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[13:44] Student:  Not yet.

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[13:44] Miller:  OK.

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 I was worried about that because I asked for the class roster and I got not a single student in it.

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I have to call in to WebCT to ask them if there's something that I should have been doing that I haven't done yet, which is probably going to turn out to be the reason.

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 Sorry.

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[14:01] OK.

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 So this is not going to be an urgent issue until a week from Thursday when it's time to actually upload stuff because I'm not using WebCT to make stuff available to you.

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 I'm just using it to collect stuff.

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[14:15] So for this week, the thing that really is urgent is another thing that I hope some of you will try because maybe this will fail, too.

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[laughter]

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[14:23] Which is see if you can download PD and get it to run.

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 This is going to be a little bit less obvious because I'm going to have to show you some things before you can find out whether you're even successfully running PD.

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 So go back and say something I didn't say

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. There is a software package that you will be using for the course which is Pure Data, or PD, and you get it from my website.

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[14:55] It will run on your computer, unless you have something really strange.

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It will even run on your iPhone, but that version of it is not on my website for that one.

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 I'll tell you if you care.

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You can run on Android, too.

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So you can have a lot of fun with this, but right now we're just going to be using the standard one on the computer and making things easy.

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[15:19] So to do that, you do this.

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 Or there's several things you can do.

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I'm going to show you what I normally do, but your mileage may vary

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. The link is on the website, although you can also find this through my home page if you want to do that.

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[15:37] There's all this good stuff, and here is Pure Data.

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You can be conservative and use version 42, which works, or you can have fun and use version 43, which sort of works.

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[laughter]

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[15:52] But which does all sorts of new stuff.

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 Yeah.

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 OK.

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There's one thing I know that doesn't work in 43 which you're not going to get for another week, so I will try to fix that by the time you get it.

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[16:09] Anyway, I'll tell you with this one I can, which is when I told you what the object is that doesn't work right.

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Anyway, I'm going to be using 43.

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 In fact let's just do this.

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If you have a Macintosh that's more than six years old, you will want this funny version.

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[16:32] Otherwise, you will want one of these, Mac OSX.

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Can I ask for a show of hands, this is just out of curiosity, well, actually it matters somewhat but mostly curiosity, how many of you have, as your primary computer, a Macintosh? Wow.

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[16:50] OK, how many of you have the primary computer of a PC running Windows software? OK, so maybe 80 to 20, something like that.

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How many of you are running something else? One, two, three.

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[laughter]

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[17:09] Very good.

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 The reason I brought the Macintosh today -

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 - actually there are two reasons -- the honest reason is that a Linux box doesn't have DVI out so I'm kind of stuck with it now on compatibility mode.

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[17:23] The other reason is that I want to look like you guys are looking today, but then by Thursday you're going to be watching me play with Linux instead of OSX.

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All of the OSX lore, unless I decide really to punish you and bring the PC in.

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[laughter]

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[17:36] We'll see.

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 No promises though.

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 We're going to be Macintosh today

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. We're going to grab PD, the scary one, and I think...

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 I don't know what you do with these things.

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 Let's just tell it...

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 I know.

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[laughter]

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[17:59] I usually save it, and then I get into a shell, and then I type TAR, space, XZF, space, blah, blah.

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 You probably don't want to know how to do that so I'm going to try to pretend I'm a regular computer user.

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One of you is trying this, right, so that you can see if it's actually working? What did it do?

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[18:22] Student:  I don't know.

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[18:27] Miller:  I think I just...

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 I thought it opened?

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[18:29] Student:  No, your window just froze.

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[18:30] Miller:  See I just did that.

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 It already did that to somebody already.

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[18:32] Student:  It's in the new Balance folder, I think.

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[18:34] Miller:  What is that? It probably threw it either on the desktop or in the home drive.

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Oh, I'm running PD.

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[laughter]

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[18:39] Oh, look.

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 It looks like I've got all this good stuff and now I don't know which of these is the one I just downloaded.

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[18:49] Student:  Right there.

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[laughter]

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[18:50] Miller:  Let's get maybe this one.

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[18:52] Student:  Left hand side, left hand side.

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[18:53] Miller:  This must be it right here.

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All right, this is the one that I had to start with today.

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[laughter]

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[18:58] Sorry, I don't think it will hurt you to have more than one.

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 Then you just do this.

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That's the easy part and then maybe this will happen, maybe not.

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[19:12] One thing that I've noticed, the first time you do this on any computer, sometimes it seems to take 30 seconds for PD to start up.

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So if you click it and it does nothing for 30 seconds, I don't know what that is, but that's Steve Jobs doing that for you.

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[laughter]

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[19:25] Student:  Will PD Extended work?

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[19:27] Miller:  Yes.

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Oh, thank you.

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Another thing that you can do, which will be more fun, is go get PD Extended as opposed to PD PD.

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In fact, it's so much fun I'm going to do this for you, too.

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 The problem is I've forgotten where the...

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Oh, so we just do...

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[19:47] Get in the browser, and then we say, PD Extended.

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PD Extended, Pure Data downloads, PD community site.

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 I don't know what the difference is between that and that.

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 All right.

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This is the redoubtable Hans-Christoph Steiner, who is a person who aggregates-- well, does many, many things for PD including actually spearheading PD's Release 43.

1.213

es

...

1.214

 But he's also making the so-called PD Extended installers.

1.214

es

...

1.215

[20:28] For those of you who know what's going on with PD and/or Macs, they have various kinds of objects in them.

1.215

es

...

1.216

PD itself ships with a couple hundred objects, and PD Extended ships maybe with a couple thousand objects in it.

1.216

es

...

1.217

So you have lots and lots and lots more stuff to play with in PD Extended, if you can figure out where to find it.

1.217

es

...

1.218

[laughter]

1.218

es

...

1.219

[20:48] Once in a while I actually reach...

1.219

es

...

1.220

You know, I don't want to make a Butterworth filter.

1.220

es

...

1.221

 They've got Butterworth filters in it.

1.221

es

...

1.222

 So there are things which you care about which you can get in PD Extended that are sometimes really worth getting.

1.222

es

...

1.223

[21:03] The other thing about that is when you want to make graphics, PD has an extension called GEM, the Graphics Environment for Multimedia, which will allow you to make graphics and also to shoot video and analyze it.

1.223

es

...

1.224

 Basically do with video the same things that PD will do with audio.

1.224

es

...

1.225

It's not really part of this course, but PD Extended has that.

1.225

es

...

1.226

 You can go make movies or whatever you want to do with it.

1.226

es

...

1.227

 I'll show you a little bit of that just as a teaser in week 10 when we're reaching out a little bit in the subject.

1.227

es

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1.228

[21:34] So, PD Extended.

1.228

es

...

1.229

The last time I did this it was very easy, so I'm hoping this will still be here.

1.229

es

...

1.230

 So download PD 42.

1.230

es

...

1.231

 This is the one that works.

1.231

es

...

1.232

PD Extended 43 is up there somewhere, too.

1.232

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...

1.233

So if you want PD Extended in its natural state, you can do that.

1.233

es

...

1.234

[22:08] But anyway, I think what I do is click this, and it says, "Go to virtual online application." Oh, yes.

1.234

es

...

1.235

 I want to open it with...

1.235

es

...

1.236

Oh, it's a disc.

1.236

es

...

1.237

 All right.

1.237

es

...

1.238

 I'll say something interesting for 38 seconds.

1.238

es

...

1.239

 Actually I sort of know this is going to work because I already have one of these things.

1.239

es

...

1.240

 It worked the first time.

1.240

es

...

1.241

[22:37] Meanwhile, nothing will happen until...

1.241

es

...

1.242

 Now it's doing a clean-up. ... [laughter]

1.242

es

...

1.243

[23:09] No, OK.

1.243

es

...

1.244

 All right.

1.244

es

...

1.245

 So I don't know why that was just faking me out.

1.245

es

...

1.246

All right, we're done.

1.246

es

...

1.247

[23:24] So disc images are things you click on like anything else in that.

1.247

es

...

1.248

New? OK, I'll leave.

1.248

es

...

1.249

[laughter]

1.249

es

...

1.250

[23:29] And ta-da, we have a disc that consists of, well, no one.

1.250

es

...

1.251

[laughter]

1.251

es

...

1.252

[23:39] As it starts, you can ignore it.

1.252

es

...

1.253

 It's quick when I do it directly

1.253

es

...

1.254

. So this is the PD Extended application and I didn't do that, I just did this.

1.254

es

...

1.255

[laughter]

1.255

es

...

1.256

[23:58] Why? Because you don't really want to throw stuff into your applications folder.

1.256

es

...

1.257

 I won't explain all the reasons you shouldn't mess with your applications folder.

1.257

es

...

1.258

 You'll have to guess.

1.258

es

...

1.259

[laughter]

1.259

es

...

1.260

[24:14] Then it takes too long to do runs.

1.260

es

...

1.261

This is all the stuff that it either loaded or didn't load, and that's good.

1.261

es

...

1.262

 But now we're running PD Extended.

1.262

es

...

1.263

 More about that later if you want to find out about that.

1.263

es

...

1.264

[24:37] Let's get out of here now and get back to being vanilla.

1.264

es

...

1.265

Take that, get rid of it, take that, get rid of it.

1.265

es

...

1.266

 Get rid of this.

1.266

es

...

1.267

 All right.

1.267

es

...

1.268

 It's all free so you can throw it away any time you want.

1.268

es

...

1.269

[laughter]

1.269

es

...

1.270

[24:57] So, next step.

1.270

es

...

1.271

 Now you've downloaded PD.

1.271

es

...

1.272

Has anyone actually done this? So, next step is, see if it's working for you.

1.272

es

...

1.273

Of course, it should start when you click it and it should also make sound when you ask it to make sound.

1.273

es

...

1.274

Actually, that's the real step that means you're doing computer music.

1.274

es

...

1.275

[25:21] To do that, to find out whether that's happening, there are two places that you should think about looking.

1.275

es

...

1.276

 I always go to the impatient place first.

1.276

es

...

1.277

The impatient place is, go to Media and say "test audio and midi" and up comes a PD patch.

1.277

es

...

1.278

[25:42] This is a PD document, first one you've seen so far I guess, and this has indicators that say whether sound was coming in to your computer.

1.278

es

...

1.279

 These are numbers and decibels which you learned about in musical acoustics last quarter.

1.279

es

...

1.280

 These are in decibels with 100 being full blast.

1.280

es

...

1.281

 I don't have a microphone so this is the noise level on the audio input device in my computer.

1.281

es

...

1.282

 There's nothing plugged in.

1.282

es

...

1.283

[26:13] So, I have a signal-to-noise ratio of, compute that and it's...

1.283

es

...

1.284

[26:23] Student:  Four minus.

1.284

es

...

1.285

[26:27] Miller:  So the loudest signal I could get would be 100 here and I'm looking at 28.

1.285

es

...

1.286

So the signal-to-noise ratio is 100 minus 28, which is 72.

1.286

es

...

1.287

Which, there's not audio hardware supplied.

1.287

es

...

1.288

 That's bad.

1.288

es

...

1.289

[26:40] OK.

1.289

es

...

1.290

 Now the other thing that you want to know...

1.290

es

...

1.291

OK so, but sound is coming in.

1.291

es

...

1.292

 I like to seeing that better than I like seeing zero.

1.292

es

...

1.293

What I really like seeing is one or two, which means I've got decent audio hardware.

1.293

es

...

1.294

Now I can make sound, which is to say I can ask the test tone to go on, and this is in decibels too, again, with 100 being full blast.

1.294

es

...

1.295

 So a good place to start is 60.

1.295

es

...

1.296

[tone sounds]

1.296

es

...

1.297

[27:02] Now you hear a nice A440.

1.297

es

...

1.298

 Or here's 80.

1.298

es

...

1.299

[tone sounds]

1.299

es

...

1.300

[27:07] I always do 60 first because you never really know where the speakers are set.

1.300

es

...

1.301

[tone sounds]

1.301

es

...

1.302

[27:14] While I was...

1.302

es

...

1.303

Yeah, there it was.

1.303

es

...

1.304

[tone sounds]

1.304

es

...

1.305

[27:16] Now, what I didn't show you was, before most of you came in, I connected my computer to the audio system in this room along with the projector.

1.305

es

...

1.306

 So what you're hearing now is the computer's line output...

1.306

es

...

1.307

[tone sounds]

1.307

es

...

1.308

[27:30] ...talking to my stereo.

1.308

es

...

1.309

And any of you who has a stereo can do the same thing, and that's a better way

1.309

es

...

1.310

 . That or headphones would be a better way to operate than using the little speakers that are on the computer.

1.310

es

...

1.311

 Yeah?

1.311

es

...

1.312

[27:45] Student:  Did you say the lower the number the better?

1.312

es

...

1.313

[27:48] Miller:  Well here, yeah.

1.313

es

...

1.314

If there's nothing plugged in, the lower the number the better.

1.314

es

...

1.315

But if you have a laptop, your laptop might have a microphone.

1.315

es

...

1.316

So you might not just be looking at the electrical noise level on your equipment, but you might actually be looking at sound.

1.316

es

...

1.317

[28:03] If that's the case, then when you say things that number goes, up.

1.317

es

...

1.318

 Then you get really happy because you got audio and then you can start making cool processing actions.

1.318

es

...

1.319

I'll say that this will happen to you, the first audio process you actually make will suffer from horrible feedback if you're using the microphone with speakers on the...

1.319

es

...

1.320

[clicking noise]

1.320

es

...

1.321

[28:21] Yeah, like that.

1.321

es

...

1.322

[laughter]

1.322

es

...

1.323

[28:24] Because the mike is very close to the speaker, right? And so the sound comes out of the speaker and back through, like that.

1.323

es

...

1.324

If you want to control that, plug in a pair of headphones, which usually will mute the microphones.

1.324

es

...

1.325

Then you can listen to what it's doing and the microphone will work properly, I think.

1.325

es

...

1.326

Depends on, you know, your mileage may vary.

1.326

es

...

1.327

[28:46] The other thing, just telling you about this, I want to just tell you the basics about getting started.

1.327

es

...

1.328

 When you do this...

1.328

es

...

1.329

[tone sounds]

1.329

es

...

1.330

[28:55] ...and that happens, it's great.

1.330

es

...

1.331

 But it's possible to do this and not have the sound coming out.

1.331

es

...

1.332

[28:59] Then there are things that you might want to do to figure out why, whether you have sound or not, and that all is here, under PD.

1.332

es

...

1.333

 So this window popped up when I set the test audio and midi.

1.333

es

...

1.334

By the way, this will be possible to do but not useful.

1.334

es

...

1.335

 I could have two of these up at once and they'll be fighting each other.

1.335

es

...

1.336

 So don't do that.

1.336

es

...

1.337

[29:25] So then in PD, that was in media, audio and midi.

1.337

es

...

1.338

In PD, you get preferences which have audio settings.

1.338

es

...

1.339

 We're not going to talk about midi today

1.339

es

...

1.340

. And audio settings are what sample rate we're running at and a magical number, which I should tell you about, and what audio devices, and what number of channels.

1.340

es

...

1.341

[29:48] Now I can do things that will cause everything to break.

1.341

es

...

1.342

 Let's have eight channels about right here.

1.342

es

...

1.343

All of a sudden, nothing happens.

1.343

es

...

1.344

Maybe, I hope, I have an error message.

1.344

es

...

1.345

 I have lots of error messages.

1.345

es

...

1.346

[laughter]

1.346

es

...

1.347

[30:06] It didn't even give me the proper error message so I can't do it.

1.347

es

...

1.348

So this is the "can't do it" mode.

1.348

es

...

1.349

 You don't see anything here and you don't hear anything coming out.

1.349

es

...

1.350

 That just means that your audio device didn't get opened.

1.350

es

...

1.351

That could happen for all sorts of reasons, which are hard to disambiguate.

1.351

es

...

1.352

[30:26] But in that case it was me asking for something impossible like that.

1.352

es

...

1.353

Also if I ask for megahertz out, I don't think it's going to agree.

1.353

es

...

1.354

 Can't do that.

1.354

es

...

1.355

 So you have to ask for something reasonable.

1.355

es

...

1.356

 And the standard CD sample rate is 44K1.

1.356

es

...

1.357

[tone sounds]

1.357

es

...

1.358

[30:54] Now we're back to being happy with the input now.

1.358

es

...

1.359

[30:59] The other thing that can go wrong is you could...

1.359

es

...

1.360

 You can't make it not be happy right now.

1.360

es

...

1.361

 You can have this thing dialed in on a device that is no longer plugged into your computer.

1.361

es

...

1.362

You buy a USB audio device, you plug it in, you tell PD to use it.

1.362

es

...

1.363

[31:17] Then you unplug the device, it no longer exists, PD starts up, you can't find it.

1.363

es

...

1.364

 Then you see here it's just a little circle which has nothing in it.

1.364

es

...

1.365

 You just have to click on that and select the thing that you really want.

1.365

es

...

1.366

[31:35] The other thing that I want to tell you is this number here, the delay, this is the spooky setting that matters but which is hard to figure out how to deal with.

1.366

es

...

1.367

This is a number which is 80 milliseconds or up, if you're using Bill Gates' software.

1.367

es

...

1.368

Or it's 20 to 30 if you're using whatever his name is, Bill Jobs', Steven Jobs' thing.

1.368

es

...

1.369

[laughter]

1.369

es

...

1.370

[31:59] Or you can get it down to about 10 on Linux.

1.370

es

...

1.371

 This is the amount of time that passes between when sound comes in the machine and when it comes back out.

1.371

es

...

1.372

And if you try to make this too low, PD shouldn't be showing you errors, which I'll see if I can find here.

1.372

es

...

1.373

[tone sounds]

1.373

es

...

1.374

[32:21] Do you hear that? Let's see here.

1.374

es

...

1.375

 I'm running 43.

1.375

es

...

1.376

 On 42 you would see a red light saying digital IO errors.

1.376

es

...

1.377

 I'm trying to resize the window.

1.377

es

...

1.378

 It's too big for this stuff.

1.378

es

...

1.379

 Can't do it.

1.379

es

...

1.380

 OK.

1.380

es

...

1.381

[32:51] No, it's not there.

1.381

es

...

1.382

 All right.

1.382

es

...

1.383

 Never mind.

1.383

es

...

1.384

 I don't know where you see the error.

1.384

es

...

1.385

 You just hear the error.

1.385

es

...

1.386

 Here it is.

1.386

es

...

1.387

[tone sounds]

1.387

es

...

1.388

[32:59] And that's because I asked for a delay that is smaller than my hardware can provide.

1.388

es

...

1.389

Oh, I did a 15 and now it's cleaned.

1.389

es

...

1.390

 But now let's see if we can do 15 to 1.

1.390

es

...

1.391

[33:17] So the smaller that number is, the faster the tablet.

1.391

es

...

1.392

 That matters because you don't want to do something to your computer and then wait a second before you hear the output.

1.392

es

...

1.393

You want it to happen as -- Well, you want to have it happen with a small enough delay that it sounds like it's happening at the same time.

1.393

es

...

1.394

[33:35] Which, depending on your musical chops and which instrument you play, might vary between five and 30 milliseconds.

1.394

es

...

1.395

What this means is that Macintosh latency's 15 to 20 milliseconds, maybe, or 25, are barely acceptable and the Window's latencies that you get are basically unacceptable.

1.395

es

...

1.396

[33:57] And I can tell you that that's only the built-in audio hardware on those devices.

1.396

es

...

1.397

 I have seen Windows boxes get very little latency by professional audio hardware you put on it.

1.397

es

...

1.398

So if you're a real gear-head and want to buy the gear, you can gear your way out of the problem.

1.398

es

...

1.399

Although you can also just take this, plug it into your machine, and turn it into Linux, which is what I would do.

1.399

es

...

1.400

[tone sounds]

1.400

es

...

1.401

[34:26] Sorry to belabor all this, but this is important because you have like eight days, nine days to get this all happening and be turning in homework.

1.401

es

...

1.402

 So I want to make this as painless as humanly possible.

1.402

es

...

1.403

 Questions about all this? I know I've forgotten things.

1.403

es

...

1.404

 Yeah?

1.404

es

...

1.405

[34:45] Student:  So what you're telling me is that the latency...

1.405

es

...

1.406

Which one's the latency? Like between Windows and Mac, is it the hardware on there or the processing speed?

1.406

es

...

1.407

[34:56] Miller:  No, it's certainly not the hardware because you can fix the problems by loading Linux on the same hardware.

1.407

es

...

1.408

I can't even generalize and tell you something that's really true in every possible case, but in some sense the audio...

1.408

es

...

1.409

Well, audio systems consist of layers of stuff on top of stuff-

1.409

es

...

1.410

#NAME?

1.410

es

...

1.411

[35:34] So when you write something to a computer's audio output, you don't just write the next sample that has to go out.

1.411

es

...

1.412

 You write several or many milliseconds in advance so that the audio hardware can be throwing them out while you're off thinking about email or something.

1.412

es

...

1.413

So that then, when you get back to writing a sample, you're still ahead of what it's doing.

1.413

es

...

1.414

[35:54] So there is a first in/first out buffer sitting in your audio output driver.

1.414

es

...

1.415

It's throwing stuff out here, and you're preparing stuff for it to throw out, and you're staying ahead.

1.415

es

...

1.416

 But you're stopping every once in a while because the OS is not treating you right and it is still reading.

1.416

es

...

1.417

[36:13] If it reads something before you wrote it, then you will hear bad noise.

1.417

es

...

1.418

 In fact you'll exactly this kind of bad sound now.

1.418

es

...

1.419

[tone sounds]

1.419

es

...

1.420

[36:19] In general, you'll hear this sort of bad noise I'm just giving you.

1.420

es

...

1.421

 This is a paradigmatic sound.

1.421

es

...

1.422

[36:35] So why would one operating system or one audio application program interface require more buffering than another? You have make enough buffering to deal with whatever your operating system can do for you, in terms of calling you back in short periods of time, and that is in OS.

1.422

es

...

1.423

[36:58] But also, different writers of audio software are sometimes more or less conservative in the way they design these things.

1.423

es

...

1.424

So in truth, Windows is overdesigned.

1.424

es

...

1.425

It could be a great deal racier, maybe one time in a million, fail.

1.425

es

...

1.426

 They can't fail one time in a million because they'll get phone calls.

1.426

es

...

1.427

 So they just make the buffer real long so the phone doesn't ring.

1.427

es

...

1.428

[37:24] So, there's that.

1.428

es

...

1.429

Now I can start doing stuff, I think.

1.429

es

...

1.430

 Are there questions before I actually start doing stuff?

1.430

es

...

1.431

[37:40] So do, please, before Thursday, get this downloaded and running so that you're not discovering that you can't do your homework next weekend or something.

1.431

es

...

1.432

[37:49] So next thing is this, what is this thing good for? So what I am going to do is make a patch that makes a sound.

1.432

es

...

1.433

Then I'm going to go back and do some theory, simply because I think it might be better to see the thing happen first and then make a theory out of it.

1.433

es

...

1.434

[38:12] So what I am doing also is I'm simultaneously surreptitiously teaching you how to use pure data.

1.434

es

...

1.435

The real content, of course, isn't Pure Data.

1.435

es

...

1.436

It's the technique of audio synthesis processing and analysis, which in fact you could do in software packages other than PD.

1.436

es

...

1.437

If you want to know about lots of possible software packages, I know them all.

1.437

es

...

1.438

I can tell you all sorts of stuff you can do with a computer, in some other context.

1.438

es

...

1.439

[38:45] I am going to just select a ridiculous font to start with.

1.439

es

...

1.440

 The basic thing you do is you put stuff on the screen so there's this nice menu I can click.

1.440

es

...

1.441

 What I am going to do today is going to be limited to two kinds of things that you can put down.

1.441

es

...

1.442

[39:04] One is going to be objects.

1.442

es

...

1.443

Of course, that really means 200 different things because I have to type in what kind of objects they're going to be.

1.443

es

...

1.444

 So that's going to be where I live most of the time.

1.444

es

...

1.445

 The other thing is I'm going to need a button later on.

1.445

es

...

1.446

So first off, I'm going to make an object.

1.446

es

...

1.447

 It shows up and I can...

1.447

es

...

1.448

 OK.

1.448

es

...

1.449

 Here's the thing.

1.449

es

...

1.450

[39:26] This has a dotted outline that says that there's nobody in there right now.

1.450

es

...

1.451

In fact, if I tell it, let's be some object that doesn't exist, it'll still say, "Nah, there's nobody there." In fact, it even got mad at me.

1.451

es

...

1.452

 Now I'll just ask it to do something it knows how to do.

1.452

es

...

1.453

There's an oscillator, and oscillators take as an argument...

1.453

es

...

1.454

 Yeah.

1.454

es

...

1.455

[39:53] So I'm going to ask it to play A.

1.455

es

...

1.456

So you've had musical acoustics and you all know that 440 hertz is A above middle C, right? That's one of those physical constants, like the speed of light, that people just don't touch.

1.456

es

...

1.457

 You just have that.

1.457

es

...

1.458

[40:08] Now we're going to say what amplitude we want.

1.458

es

...

1.459

 So I'm going to put in another object.

1.459

es

...

1.460

 I'm doing this in the slow way now.

1.460

es

...

1.461

 I'll show you the fast way later.

1.461

es

...

1.462

 Put another object and put it down here.

1.462

es

...

1.463

Then I'm going to type times tilde, I should say, and ask it, let's only be a tenth of a hold for the blast sine wave.

1.463

es

...

1.464

[40:32] OK.

1.464

es

...

1.465

 I'm going to crack the book in a moment and show you in waveforms what we're talking about here.

1.465

es

...

1.466

But for right now just talking over this, this is putting out a full blast 440 hertz sine wave.

1.466

es

...

1.467

By the way, you might know this intuitively, but these things are inputs up here and this is an output.

1.467

es

...

1.468

 I'm going to hook the output of the oscillator to the input of times 0.1.

1.468

es

...

1.469

[41:00] What that is going to do is it's going to take the amplitude of this and reduce it from full blast to a tenth of full blast.

1.469

es

...

1.470

 What's full blast? 100.

1.470

es

...

1.471

 Then I'm going to say put another object and this one is going to be -

1.471

es

...

1.472

 - this is kind of not well named -- it's going to be the digital analogue convertor.

1.472

es

...

1.473

 That's the person in your computer who takes those numbers and turns them into voltages.

1.473

es

...

1.474

 Now I'm going to say...

1.474

es

...

1.475

[tone sounds]

1.475

es

...

1.476

[41:31] Oh, wow, it just worked.

1.476

es

...

1.477

 Take the output of this thing and put it into speakers.

1.477

es

...

1.478

That's to say make it available to the audio output of my computer, which by the way is connected to the speaker.

1.478

es

...

1.479

[41:50] Now how do I make it shut up? There's this control here which says whether you're computing DSP or not.

1.479

es

...

1.480

DSP, I don't know if that's a good name, is digital signal processing, and that turns the network on and off.

1.480

es

...

1.481

[42:11] That's the fastest way to get silence if something's happening too loud.

1.481

es

...

1.482

 That's important so there's a key accelerator: The slash turns it on and period turns it off.

1.482

es

...

1.483

Oh, command slash is on and command period is off, which you can think of as mute.

1.483

es

...

1.484

It's not really mute, but you can think of it that way for now.

1.484

es

...

1.485

[42:32] All right.

1.485

es

...

1.486

Now the other thing that I should have mentioned is that when you start PD, this thing is turned off.

1.486

es

...

1.487

The reason it was on just now is not because I surreptitiously turned it on, but because the test tones, which I've already had out, automatically turns the DSP on so that it can make noise.

1.487

es

...

1.488

[42:54] As a result, I was using the fact that DSP was still running, even though I'd closed the test tone.

1.488

es

...

1.489

 So this thing stays on regardless of whether I have the patches open or shut.

1.489

es

...

1.490

 I can close this patch and it won't change the status of whether DSP was running or not.

1.490

es

...

1.491

[43:10] So this is more software.

1.491

es

...

1.492

No, this is half software and half theory now.

1.492

es

...

1.493

DSP running, what that means is every object whose name ends in a tilde, if DSP is running, is computing 44,100 numbers per second.

1.493

es

...

1.494

Or a number of numbers per second equal to the sample rate, I should say

1.494

es

...

1.495

 . But 44K1 in and out.

1.495

es

...

1.496

[43:41] What that means is that when this is turned on, this output contains a stream of numbers, one every 44,100th of a second.

1.496

es

...

1.497

 Let's say one every 22 microseconds.

1.497

es

...

1.498

[43:56] All right.

1.498

es

...

1.499

And furthermore, each of one these things is doing that.

1.499

es

...

1.500

 It's using all of its inputs.

1.500

es

...

1.501

 It's receiving inputs at the same rate.

1.501

es

...

1.502

If nothing is connected to one of these inputs, the input is...

1.502

es

...

1.503

All right, that's a complexity.

1.503

es

...

1.504

[44:16] If nothing is coming to an input that expects audio, the input is zero.

1.504

es

...

1.505

I'm going to have to repeat in several different ways distinctions between these streams of audio and things which happen sporadically, which sometimes we call "control" or "not audio."

1.505

es

...

1.506

[44:37] But what you're seeing right now is connections between the audio output of the oscillator and the audio input.

1.506

es

...

1.507

 And what you have to know is this input expects audio and this input expects not audio.

1.507

es

...

1.508

It expects messages, which I will tell you about later.

1.508

es

...

1.509

[44:55] All right.

1.509

es

...

1.510

So this network is -- I should say, these connections are like carrying numbers when it's turned on and they're not carrying numbers when it's turned off.

1.510

es

...

1.511

 This input actually does expect an audio.

1.511

es

...

1.512

 It expects this audio signal.

1.512

es

...

1.513

[45:14] For instance, if I have this on I can break this.

1.513

es

...

1.514

To cut a connection, select the connection, which turns it blue, then hit command X.

1.514

es

...

1.515

So if you want to try the other output, do that, or both.

1.515

es

...

1.516

 You can have fan out if you want.

1.516

es

...

1.517

While we're at it, you can have fan in.

1.517

es

...

1.518

[45:46] What's the interval between this frequency and that frequency? Any takers? What's the ratio between those two numbers? Three to two.

1.518

es

...

1.519

And that's what interval on the piano or musical scale? Yes, a fifth.

1.519

es

...

1.520

[tone sounds]

1.520

es

...

1.521

[45:36] Ta-da, mathematics turned into music! So the reason I did that was not to tell you what a fifth was, but just to show that you can hook two people into an audio input and it will just add them for you.

1.521

es

...

1.522

Over here, here's another thing you can do to demonstrate psychoacoustics effects.

1.522

es

...

1.523

[tone sounds]

1.523

es

...

1.524

[46:23] All right, so I'm going to shut this up and talk a little bit more.

1.524

es

...

1.525

Is this all clear, what I've done so far?

1.525

es

...

1.526

[46:44] To do this, basically you do what you do with a computer, which is you sort of flail with stuff and find out what it does.

1.526

es

...

1.527

 But let me do a little bit of the flailing for you so that you can expect things to happen when they do.

1.527

es

...

1.528

[46:59] The most confusing thing that will happen is this.

1.528

es

...

1.529

You will reach to move something, like this, and it will move.

1.529

es

...

1.530

 And you will be happy

1.530

es

...

1.531

 . Then you will release it and then you will click it again.

1.531

es

...

1.532

 Then you won't be able to move it anymore.

1.532

es

...

1.533

 It won't move.

1.533

es

...

1.534

[47:21] Now I'm editing the text.

1.534

es

...

1.535

What do you do? Well, if you're in this state, which is editing the text, and if you want to move the thing, deselect it and then move it.

1.535

es

...

1.536

This is second nature to me, but everyone has to do this the first time and it will confuse you for a second.

1.536

es

...

1.537

[47:42] So you can immediately move something that's not selected, but when you select something, when you release the mouse, the text is selected for you to edit the text, which is more than likely what you're going to want to be doing.

1.537

es

...

1.538

But in case you really just wanted to move the thing, then you have to deselect it so that you can move it after you deselect it.

1.538

es

...

1.539

[48:00] Also, you can select something by clicking on it, which selects the text, or you can select something as part of a region, and that doesn't select the text.

1.539

es

...

1.540

 That just selects the objects.

1.540

es

...

1.541

 Then you can move things.

1.541

es

...

1.542

[48:17] Am I going too slow? Yeah.

1.542

es

...

1.543

 All right.

1.543

es

...

1.544

 OK.

1.544

es

...

1.545

So also, you can select a single thing as a group using the group selector thing, and again, it just selects the object.

1.545

es

...

1.546

[48:36] OK.

1.546

es

...

1.547

 Next thing is this.

1.547

es

...

1.548

I want to show you what this actually really is, and to do that I have to introduce two new objects.

1.548

es

...

1.549

While I'm at it, I'm going to tell you there is, of course, a key-accelerator for putting an object and it's "command-1", and then I can say "print."

1.549

es

...

1.550

[48:58] This is object number four.

1.550

es

...

1.551

 So I believe in the first week you're going to see about 10 kinds of objects.

1.551

es

...

1.552

 What I try to do is limit it to five a day

1.552

es

...

1.553

 . First day is going to be iffy because we're already up to four.

1.553

es

...

1.554

But theoretically, we will not be learning lots of objects all at once, but they will be coming out at a steady rate.

1.554

es

...

1.555

[49:20] So right now, we've seen the oscillator, OSC tilde, we've seen the multiplier, we've seen the output, and now we've seen print tilde.

1.555

es

...

1.556

 What I'm going to do is I'm going to show you what the oscillator is doing by hooking it up to the print.

1.556

es

...

1.557

[49:34] Now logically, the first thing that you would expect this to do would be to print out 44,100 numbers a second, but it turns out that that would choke any computer in the world to try to print that stuff.

1.557

es

...

1.558

 Plus you wouldn't want to see it.

1.558

es

...

1.559

[49:49] So instead of doing that, what it does is it waits until you tell it to please print the next glob of data, and it prints it globs at a time.

1.559

es

...

1.560

So now what we're going to do is we're going to put the bang under it, which is a button.

1.560

es

...

1.561

Oh, let me do that slower.

1.561

es

...

1.562

[50:04] So put, I've been putting objects, but I'm going to put this thing down now.

1.562

es

...

1.563

 And it is a thing which...

1.563

es

...

1.564

 And now I have to let out more of the truth.

1.564

es

...

1.565

 OK.

1.565

es

...

1.566

I'm being very careful, trying to let out bits of truth very slowly

1.566

es

...

1.567

. So see now that this line that I connected is only one pixel wide, instead of two pixels wide, where this one is.

1.567

es

...

1.568

[50:26] In other words, these are nice dark lines here, but this is a lighter line.

1.568

es

...

1.569

That is to tell you that this is not carrying an audio signal, but is for control.

1.569

es

...

1.570

 It's for sending messages.

1.570

es

...

1.571

Messages are things which happen at specific times, as opposed to signals or audio signals, which are happening continuously.

1.571

es

...

1.572

[50:52] The message that this thing sends out is: Every time you click on it, out comes a message.

1.572

es

...

1.573

 The message just tells it to do their thing.

1.573

es

...

1.574

In this case, it says do you print, please? What has happened? Oh, because I have this turned off.

1.574

es

...

1.575

 Now I'm going to turn it on.

1.575

es

...

1.576

[tone sounds]

1.576

es

...

1.577

[51:12] And now it prints out.

1.577

es

...

1.578

Every time I whack it, it prints out a new collection of data.

1.578

es

...

1.579

[tone sounds]

1.579

es

...

1.580

[51:25] So print tilde's job is every time you ask it to, it will print you out the next block of data.

1.580

es

...

1.581

So there's built-in knowledge about what PD is doing here, which is that PD doesn't actually really just compute one audio sample at a time.

1.581

es

...

1.582

It computes them in batches of, by default, 64 samples.

1.582

es

...

1.583

 And let's see if we can get this thing shut off.

1.583

es

...

1.584

[51:59] It should make a nice space with these numbers printed out.

1.584

es

...

1.585

So this is 64 consecutive numbers of a sinusoid, which is to say, a sine wave, which is the thing coming out of OSC tilde.

1.585

es

...

1.586

 This is basically the first and most truthful tool at your disposal for finding out what's going on inside of a patch that's doing audio.

1.586

es

...

1.587

[52:27] It's clunky and stupid, because this amounts to about 1.45 milliseconds of sound.

1.587

es

...

1.588

 So looking at this wouldn't actually tell you much about what really is coming down in there.

1.588

es

...

1.589

But if you tried to see it, it would be too much data.

1.589

es

...

1.590

[52:44] Anyway, you can see that good things are true about this thing.

1.590

es

...

1.591

 What's the maximum amplitude? It's about one.

1.591

es

...

1.592

 Here's an almost one right there.

1.592

es

...

1.593

So what you're looking at is just numbers, but if you graphed them you would see a rising and falling part of a sinusoid.

1.593

es

...

1.594

[53:06] Now let me get you to the book and show you what this is in a picture.

1.594

es

...

1.595

You can make PD make pictures, but I don't want to teach you how to do that yet because there's too much detail involved.

1.595

es

...

1.596

 So I'm just going to provide data off of them .

1.596

es

...

1.597

[53:21] Where was I? Don't want to do that.

1.597

es

...

1.598

 I want to do this.

1.598

es

...

1.599

 Yeah.

1.599

es

...

1.600

All right, good.

1.600

es

...

1.601

 OK.

1.601

es

...

1.602

 So I told you there's a textbook.

1.602

es

...

1.603

 This is the textbook.

1.603

es

...

1.604

You can buy this if you want to spend, I think it's $79, and they did a good job of printing it.

1.604

es

...

1.605

But you don't need to buy it because you can just look at it on the web, which is more convenient.

1.605

es

...

1.606

[53:47] But if you want to read it in a hammock, you can buy it.

1.606

es

...

1.607

You can spend $80 and buy the thing, or print it out.

1.607

es

...

1.608

 But don't tell them I told you to print it out.

1.608

es

...

1.609

I'm skipping some stuff, which maybe I should go back to, but here's a picture of what a digitized audio sample looks like in graph language.

1.609

es

...

1.610

[54:09] There are two pictures here because this is what you want, in some sense.

1.610

es

...

1.611

 What you want to make the speaker cone do is to move like that.

1.611

es

...

1.612

 The speaker cones live in continuous time wher time isn't split up into trenches of 22 microseconds a hit.

1.612

es

...

1.613

So the computer's representation of this, however, is split up into screen time and therefore if you graph it, it would look something like that.

1.613

es

...

1.614

[54:37] This audio signal has a frequency and an amplitude.

1.614

es

...

1.615

 This is in fact exactly what would come out if you gave the appropriate frequency to an OSC tilde object.

1.615

es

...

1.616

 It varies between positive one and negative one.

1.616

es

...

1.617

 That has no units.

1.617

es

...

1.618

 That's an arbitrary scale.

1.618

es

...

1.619

But I should tell you that if you put something that's more than one or less than minus one at your audio output, that's to say if you feed something that's out of that range to DAC tilde, then your computer will not be able to play it correctly

1.619

es

...

1.620

 . It will click.

1.620

es

...

1.621

[55:15] So this is the full audio range of your computer's audio output.

1.621

es

...

1.622

How does PD know that? PD just asks the computer, what range do you want to feed your DAC in? And it normalizes that to one.

1.622

es

...

1.623

 All right.

1.623

es

...

1.624

 The frequency that you would do this at is manifested in how many of these samples it takes for the thing to make an entire cycle.

1.624

es

...

1.625

This is all acoustics, right?

1.625

es

...

1.626

[55:43] In fact, what this is if you give it an equation is one of these things.

1.626

es

...

1.627

 It's an amplitude times the cosine -

1.627

es

...

1.628

- you could use sine, but I'm using cosine here -- of the frequency times the sample number plus a phase.

1.628

es

...

1.629

[56:04] So if you take one of these things and graph it, you will see something like what you saw graphed down there.

1.629

es

...

1.630

Furthermore, you can change the numbers a, which is the amplitude, or omega, which is the frequency, or phi, which is the initial phase, and you can change the way that it looks in one way or another.

1.630

es

...

1.631

[56:28] n is the sample number, and that is the horizontal axis here.

1.631

es

...

1.632

 I'm insulting your upper intelligence here.

1.632

es

...

1.633

 This is all it is though.

1.633

es

...

1.634

 All you do is you do this and say we'll change that equation and we get all confused.

1.634

es

...

1.635

 I've done this for 30 years and it never gets old.

1.635

es

...

1.636

[56:51] So what is omega here? Well omega was enough so that after 20 samples the thing comes around and cycles.

1.636

es

...

1.637

 So omega is two pi over 20.

1.637

es

...

1.638

 Omega is the frequency out there.

1.638

es

...

1.639

So N is the number of the sample and this is the thing which controls the frequency, but it's the physical frequency of the thing as an array of numbers.

1.639

es

...

1.640

It's not a heard frequency, and you can convert that to the frequency-frequency by a simple formula.

1.640

es

...

1.641

[57:32] The frequency you hear is the omega, is the angular frequency is what that's called.

1.641

es

...

1.642

Time and sample rate divided by two pi, and that's how you make a sinusoid.

1.642

es

...

1.643

[57:43] So if you want it to be louder, change A.

1.643

es

...

1.644

 Or -

1.644

es

...

1.645

- and here's why, for this I have to go back to the patch -- if someone gives you a sinusoid and if you want to change its amplitude, all you have to do is multiply it by the ratio of the two amplitudes.

1.645

es

...

1.646

That is, multiply it by the gain you want, gain meaning the difference between the two amplitudes.

1.646

es

...

1.647

So what that means is what is coming out of this equation, what's coming out of this oscillator right now.

1.647

es

...

1.648

Omega is two pi times 440 divided by 44,100, whatever that number is, and a is one.

1.648

es

...

1.649

[58:42] The amplitude of the output of this thing is one.

1.649

es

...

1.650

So what this is really putting out is the cosine of omega times the n, and forget the phase for now.

1.650

es

...

1.651

 Time is just passing and we don't know what the phase is right now.

1.651

es

...

1.652

[58:54] But if we want to change this amplitude, if I gave you just cosine of omega, if you said, "No, I want 0.1 times the cosine of omega," in other words, I want something with an amplitude of 0.1 instead of one, then the solution is to multiply the thing by 0.1.

1.652

es

...

1.653

 That multiplies it this way

1.653

es

...

1.654

 . It changes the amplitude.

1.654

es

...

1.655

 It doesn't do this.

1.655

es

...

1.656

 That would be...

1.656

es

...

1.657

 Yeah?

1.657

es

...

1.658

[59:21] Student:  So if you were in your print command, like your oscillators, then just having them separate, would that, instead of going all the way to one and down to negative one, would it just go up to 0.1 and down to negative 0.1?

1.658

es

...

1.659

[59:32] Miller:  Yeah.

1.659

es

...

1.660

Thank you, because I actually meant to do that but didn't.

1.660

es

...

1.661

So I think what you're asking is, "What if I just print the output of this?" Right?

1.661

es

...

1.662

[59:44] Student:  Right.

1.662

es

...

1.663

[59:44] Miller:  Yeah.

1.663

es

...

1.664

OK, good.

1.664

es

...

1.665

So it'll do that, and I forgot to turn...

1.665

es

...

1.666

Oh, so nothing happened because the audio is turned off.

1.666

es

...

1.667

So I'll turn audio on and it will say, "Oh, I need to print something."

1.667

es

...

1.668

[tone sounds]

1.668

es

...

1.669

[59:53] Yeah, there.

1.669

es

...

1.670

 Now what we see is kind of ugly

1.670

es

...

1.671

 . I'm sorry the spaces aren't worked right.

1.671

es

...

1.672

 But what you see is something that's going up to about 0.1.

1.672

es

...

1.673

It is 0.9998, instead of one.

1.673

es

...

1.674

 So these numbers are these numbers divided by 10.

1.674

es

...

1.675

Except that I asked it a different time and so actually they are like them but they're not exactly the same as those divided by 10, some of the phase.

1.675

es

...

1.676

 All right? Is that all clear? OK.

1.676

es

...

1.677

[60:34] Now without anything besides those things, what have we got? We'll do those two.

1.677

es

...

1.678

I'm going to raise the total count of objects to five, but not in a very interesting way

1.678

es

...

1.679

 . I just need an adder.

1.679

es

...

1.680

[61:06] Now what I'm going to do is I'm going to take the oscillator and have it be zero plus 440.

1.680

es

...

1.681

 Let me check if that gives us the same thing.

1.681

es

...

1.682

 Yeah.

1.682

es

...

1.683

 So this is stupid.

1.683

es

...

1.684

There's zero coming in here and we're adding 440 to it, so it comes out here as 440 volts, if this were an analog synthesizer, 440 volt signal.

1.684

es

...

1.685

[61:31] The oscillator then is giving us a signal that's plus or minus one volt, but it's changing 440 times a second.

1.685

es

...

1.686

The reason I did that is so that I can do this, take another oscillator, or get another oscillator.

1.686

es

...

1.687

[61:44] Oh, I'm doing this without telling you what I'm doing.

1.687

es

...

1.688

I'm selecting this object without selecting the text and I'm hitting command D, which duplicates it.

1.688

es

...

1.689

It duplicates it and leaves it selected without the text selected, so that's very convenient for me to move it.

1.689

es

...

1.690

[62:00] This one I'm going to say six.

1.690

es

...

1.691

And by the way, the machine did sample it, too.

1.691

es

...

1.692

 Look at this from a different perspective.

1.692

es

...

1.693

 Come on.

1.693

es

...

1.694

Yeah, by the way, let's multiply that by something.

1.694

es

...

1.695

No, let's not yet.

1.695

es

...

1.696

 Let's just leave it.

1.696

es

...

1.697

 See what we get.

1.697

es

...

1.698

[62:29] Anyone want to guess what this is going to sound like? All right, I'll show you.

1.698

es

...

1.699

[tone sounds]

1.699

es

...

1.700

[62:37] So it's the oscillator on that.

1.700

es

...

1.701

Oh, I can just connect it and show you.

1.701

es

...

1.702

 There is the sinusoid and here is the sinusoid.

1.702

es

...

1.703

 Its frequency is changing once a second.

1.703

es

...

1.704

 It's going up to...

1.704

es

...

1.705

OK, so here's an oscillator and it's going at six cycles per second, and what's its amplitude?

1.705

es

...

1.706

[63:05] Student:  One.

1.706

es

...

1.707

[63:06] Miller:  One, right.

1.707

es

...

1.708

 OK.

1.708

es

...

1.709

So then when we add 440, out comes not the 440 volts, but a varying voltage which varies from 339 to 441.

1.709

es

...

1.710

 That variation repeats six times per second because this thing is happening at six cycles per second.

1.710

es

...

1.711

[63:30] But in fact, to make this an easier thing to hear, I will say let's multiply that by five.

1.711

es

...

1.712

This can be ugly, but we're going to do it.

1.712

es

...

1.713

 This will be quite audible.

1.713

es

...

1.714

[tone sounds]

1.714

es

...

1.715

[63:48] Not quite as ugly as I want it to be.

1.715

es

...

1.716

 So now we're varying between 435 and 445 hertz.

1.716

es

...

1.717

Now of course, since it's a computer, you can tell it to do anything you want.

1.717

es

...

1.718

[tone sounds]

1.718

es

...

1.719

[64:04] It sounds like it's doing two pitches at once, to me anyway

1.719

es

...

1.720

 . But I'm in a weird place because I'm getting an echo from the speaker sounding.

1.720

es

...

1.721

OK, let's do this.

1.721

es

...

1.722

[tone sounds]

1.722

es

...

1.723

[64:21] Or, no...

1.723

es

...

1.724

[tone sounds]

1.724

es

...

1.725

[64:24] OK, let's not do that.

1.725

es

...

1.726

So it's a computer, it'll do anything you tell it to, if it was a good idea or not.

1.726

es

...

1.727

 It doesn't matter to it.

1.727

es

...

1.728

And furthermore, it won't hurt you because what comes out won't be more than outside the range of the DAC.

1.728

es

...

1.729

So as long as you don't crank your stereo or your headphones, you won't injure yourself doing this.

1.729

es

...

1.730

[64:56] I think that what's going on here is it changes its speed to vibrato.

1.730

es

...

1.731

 I need it more to make this obvious.

1.731

es

...

1.732

 Right.

1.732

es

...

1.733

I'm sorry, this is ugly now.

1.733

es

...

1.734

So this is just how fast it's going, once per second, twice per second and so on.

1.734

es

...

1.735

[65:13] You know what I didn't tell you? When you start typing in an object like this, it doesn't immediately change it to the new object.

1.735

es

...

1.736

 It only does that when you click off of it to deselect the text.

1.736

es

...

1.737

And furthermore, if you do something bad like this and then it would say, oh, I couldn't create that.

1.737

es

...

1.738

[65:40] Then it prints the dotted line to tell me the object would be bad.

1.738

es

...

1.739

 But it kept the connection so that I don't have to remake a connection when I fix the problem.

1.739

es

...

1.740

 The problem here is that OSC tilde has a name that only works when there's no space in its interior.

1.740

es

...

1.741

[65:58] For those of you who are computer scientists, space is "the delimiter." That is essentially the only delimiter that you have to deal with.

1.741

es

...

1.742

 So don't try to make an object if its name has a space in it.

1.742

es

...

1.743

[66:16] Student:  So just a question about the setup.

1.743

es

...

1.744

So the amplitude for the OSC tilde is one, right?

1.744

es

...

1.745

[66:22] Miller:  Right.

1.745

es

...

1.746

[66:23] Student:  And we times it by 30.

1.746

es

...

1.747

[66:25] Miller:  Right.

1.747

es

...

1.748

[66:25] Student:  So that makes the amplitude for the 440 between 410 and 470.

1.748

es

...

1.749

 Is that right?

1.749

es

...

1.750

[66:31] Miller:  Right, and that's changing three times a second.

1.750

es

...

1.751

 Then that's becoming the frequency for the oscillator.

1.751

es

...

1.752

 I didn't tell you something important.

1.752

es

...

1.753

Frequently, objects will give you the choice of specifying their input or connecting to their input to set it.

1.753

es

...

1.754

Here I've said "oscillator" which means we're just going to take a signal and specify what our frequency's going to be.

1.754

es

...

1.755

[tone sounds]

1.755

es

...

1.756

[66:58] But here I'm saying "oscillator" but I know what the frequency is.

1.756

es

...

1.757

It's three, so I'm just going to keep it on.

1.757

es

...

1.758

There's another way in too, which is that you can change these in messages, but I'm not going to try to tell you that.

1.758

es

...

1.759

[67:10] Student:  Is there a map of all the names of the outputs that we learned?

1.759

es

...

1.760

[67:13] Miller:  If you really want to see it, you say Help.

1.760

es

...

1.761

Right-click on it and you can get help and help within a patch, which tells you everything you want to know about it.

1.761

es

...

1.762

OK, so that was help.

1.762

es

...

1.763

So if you want to have multiplier help, you do that.

1.763

es

...

1.764

 Then if you right-click on the canvas and say help -

1.764

es

...

1.765

 - the canvas meaning the document but not any of the objects in the document -- then you will get this lovely patch that someone else made.

1.765

es

...

1.766

[68:00] It will tell you everything in this very carefully organized order.

1.766

es

...

1.767

But this will only be the first 200 objects, which are the ones that you get before you get PD Extended.

1.767

es

...

1.768

 More than one...

1.768

es

...

1.769

[laughter]

1.769

es

...

1.770

[68:16] That's funny

1.770

es

...

1.771

 . I didn't see any specific examples but I'm just about sure that there are two copies of this thing here.

1.771

es

...

1.772

Never mind, I'm sorry

1.772

es

...

1.773

 . There really is this much stuff.

1.773

es

...

1.774

Well, sorry, it's just what it is.

1.774

es

...

1.775

 Maybe there are more than 200 objects now.

1.775

es

...

1.776

[68:49] So that will tell you everything that you might need to know.

1.776

es

...

1.777

If we're doing 10 a week, at the end of the 10 weeks you'll know 100 of those objects.

1.777

es

...

1.778

 You don't need to know them all.

1.778

es

...

1.779

I know them all, but you're not me.

1.779

es

...

1.780

[laughter]

1.780

es

...

1.781

[69:09] Basically, with about 100 of them, you can do a whole lot of stuff.

1.781

es

...

1.782

 And then there will be an occasional thing that you can't do with those 100 that will require that you find another one out and thereabouts.

1.782

es

...

1.783

[69:20] So what happens is that there will be a period of intense learning objects, like 10 a week.

1.783

es

...

1.784

After a while, you won't need 10 new objects, there won't be any more and things will calm down.

1.784

es

...

1.785

 Other questions? Yeah.

1.785

es

...

1.786

[69:35] Student:  How do you get the print thing to work again?

1.786

es

...

1.787

[69:39] Miller:  OK.

1.787

es

...

1.788

So oh, yeah, there's a thing I didn't tell you, which is fundamental.

1.788

es

...

1.789

 The patch can be in two different...

1.789

es

...

1.790

 Sorry

1.790

es

...

1.791

. The interface of the patch can be in two different states, which are sometimes called run mode or edit mode.

1.791

es

...

1.792

[69:56] If I try to click this thing now, I'm just editing the patch, and that doesn't click on it.

1.792

es

...

1.793

It just moved it, right? So what I have to do is put myself into run mode, which I do here.

1.793

es

...

1.794

 Let's get out of edit mode.

1.794

es

...

1.795

 Now edit mode is no longer...

1.795

es

...

1.796

 Whoops!

1.796

es

...

1.797

[laughter]

1.797

es

...

1.798

[70:16] It is still on.

1.798

es

...

1.799

[tone sounds]

1.799

es

...

1.800

[laughter]

1.800

es

...

1.801

[70:19]

1.801

es

...

1.802

[70:22] Miller:  OK.

1.802

es

...

1.803

Well, this is version 43.

1.803

es

...

1.804

 You tend to get what you pay for.

1.804

es

...

1.805

[laughter]

1.805

es

...

1.806

[70:25] Anyway, the indication is what the cursor looks like.

1.806

es

...

1.807

 So right now what you see is an arrow.

1.807

es

...

1.808

And if I do that again, you will see an arrow again.

1.808

es

...

1.809

[laughter]

1.809

es

...

1.810

[70:35] Like now.

1.810

es

...

1.811

 Now it's just being happy.

1.811

es

...

1.812

[laughter]

1.812

es

...

1.813

[70:38] All right.

1.813

es

...

1.814

 You cannot get out of edit mode.

1.814

es

...

1.815

[laughter]

1.815

es

...

1.816

[70:44] That's cool.

1.816

es

...

1.817

OK, well, I'm expecting to see stuff like this because we're in pre-release.

1.817

es

...

1.818

[70:52] Student:  Does the shortcut work, Apple-E?

1.818

es

...

1.819

[70:54] Miller:  Oh, the shortcut works great.

1.819

es

...

1.820

So the shortcut, you just hit DSP, command E, or Apple E.

1.820

es

...

1.821

And then it goes back and forth between modes, except that this is a thing that Hans has driven, and just torn hair out of his head over it.

1.821

es

...

1.822

 You don't actually see the new state until you move the cursor.

1.822

es

...

1.823

Because some smart person at Apple thought you would never have the cursor change unless you reached it, unless you changed wherever the cursor is.

1.823

es

...

1.824

[71:21] So what you have to do is change the mode, but then you have to jiggle the cursor to see that you are in the other mode.

1.824

es

...

1.825

Isn't that horrible? That's only on Macintosh, so only 80 percent of you are going to have this trouble like we're having today.

1.825

es

...

1.826

[laughter]

1.826

es

...

1.827

[71:34] Student:  90 percent.

1.827

es

...

1.828

[71:35] Miller:  OK.

1.828

es

...

1.829

So anyway, we're just moving to make sure this is what you think it is.

1.829

es

...

1.830

When you're in the run mode, which is not edit mode, you can click this thing and get it to do its thing.

1.830

es

...

1.831

And of course, sorry, we also have to turn on audio.

1.831

es

...

1.832

[tone sounds]

1.832

es

...

1.833

[71:51] Of course, there's a reason why I'm not on audio.

1.833

es

...

1.834

 Let's see.

1.834

es

...

1.835

 Let's just do this.

1.835

es

...

1.836

 So now we can turn the thing on but not hear it.

1.836

es

...

1.837

 Now we're running so I can do this.

1.837

es

...

1.838

But if I can get back into edit mode, like this, then I can click it all I want.

1.838

es

...

1.839

[72:13] Although, sometimes you can hold the command key down and click it.

1.839

es

...

1.840

And it will say, it's as if you were in run mode.

1.840

es

...

1.841

So the command key operates as a sort of shift into run mode thing, if you can remember that.

1.841

es

...

1.842

I never remember it, so I just toggle the mode.

1.842

es

...

1.843

 Other questions? Did that answer yours?

1.843

es

...

1.844

[72:39] Student:  Yes.

1.844

es

...

1.845

[72:41] Miller:  OK.

1.845

es

...

1.846

 Yeah?

1.846

es

...

1.847

[72:42] Student:  I just want to make sure I understand print and DAC tilde.

1.847

es

...

1.848

Print within run mode, when you click it, it creates a graphical mathematical representation of that patch, is that right?

1.848

es

...

1.849

[72:55] Miller:  Well, not even graphical.

1.849

es

...

1.850

 It just prints the numbers out.

1.850

es

...

1.851

[72:58] Student:  All right.

1.851

es

...

1.852

And then the DAC tilde, then the time is...?

1.852

es

...

1.853

[73:02] Miller:  OK, so the DAC tilde, that takes whatever the signal is...

1.853

es

...

1.854

[tone sounds]

1.854

es

...

1.855

[73:05] ...and puts it there.

1.855

es

...

1.856

 So it causes it to appear as an audio output.

1.856

es

...

1.857

So this is, print the values out so I can see them, and this is, play them so I can hear them.

1.857

es

...

1.858

[73:17] Student:  Is that abbreviated for something?

1.858

es

...

1.859

[73:19] Miller:  DAC? It's digital-to-analog converter, and that used to be what people called it.

1.859

es

...

1.860

There actually is a DAC in your machine, but people never seem to use that term anymore.

1.860

es

...

1.861

So, yeah.

1.861

es

...

1.862

 Yeah?

1.862

es

...

1.863

[73:32] Student:  It only prints the first 64 though, right?

1.863

es

...

1.864

[73:34] Miller:  It only prints the next 64, until you whack it.

1.864

es

...

1.865

Of course, if you really wanted to...

1.865

es

...

1.866

No, never mind.

1.866

es

...

1.867

 I could ask it to print more.

1.867

es

...

1.868

 Yeah?

1.868

es

...

1.869

[73:48] Student:  Do you have a limit in the inputs and outputs?

1.869

es

...

1.870

[73:50] Miller:  You mean as to amplitude or the number of includes or....?

1.870

es

...

1.871

[73:55] Student:  Just how many things you can enter.

1.871

es

...

1.872

[73:56] Miller:  Oh, no.

1.872

es

...

1.873

[73:57] Student:  You can have more inputs than objects?

1.873

es

...

1.874

[73:59] Miller:  Yeah.

1.874

es

...

1.875

Oh, wait.

1.875

es

...

1.876

Add more than just an object, meaning...

1.876

es

...

1.877

I think what your question was, was how many other things could I run into this...

1.877

es

...

1.878

[74:06] Student:  Right.

1.878

es

...

1.879

[74:06] Miller:  ...into these fixed objects.

1.879

es

...

1.880

 But I can do that and you'd never have to stop.

1.880

es

...

1.881

 But could I make the object itself have more inputs? Each object has its own schematics about what its inputs and outputs mean.

1.881

es

...

1.882

Some of them actually do have variable numbers, but you won't see those for a couple of weeks.

1.882

es

...

1.883

Other questions? These are good questions, by the way

1.883

es

...

1.884

 . Yeah?

1.884

es

...

1.885

[74:31] Student:  You said that the right input was an input for messages? So if you try to put an input, like with an audio, to that, it won't work?

1.885

es

...

1.886

[74:38] Miller:  Yeah.

1.886

es

...

1.887

[74:38] Student:  You have to keep it to the left.

1.887

es

...

1.888

[74:39] Miller:  Yeah.

1.888

es

...

1.889

So for these particular objects, the right input is...

1.889

es

...

1.890

Yeah, OK.

1.890

es

...

1.891

So we'll get there, because there'll be other things where there will be more than one audio input.

1.891

es

...

1.892

 Sometimes you'll want to multiply two audio signals or something like that.

1.892

es

...

1.893

 And I'd be scared to tell you that right now.

1.893

es

...

1.894

 I'll tell you about that on Thursday.

1.894

es

...

1.895

[75:03] Student:  Is this only one channel right now? Like, left only?

1.895

es

...

1.896

[75:06] Miller:  I've only been using the left side, mostly

1.896

es

...

1.897

. When I'm working at home, I use both sides...

1.897

es

...

1.898

[tone sounds]

1.898

es

...

1.899

[75:09] ...because it irritates me to hear every sound out of just one side of the thing.

1.899

es

...

1.900

You know, it's just what you like.

1.900

es

...

1.901

 Yeah?

1.901

es

...

1.902

[75:20] Student:  So there's no spaces unless you put a number in there? You just have the space to put the number.

1.902

es

...

1.903

[75:25] Miller:  Right.

1.903

es

...

1.904

[75:25] Student:  Because otherwise you just get the domino effect.

1.904

es

...

1.905

[75:28] Miller:  Right.

1.905

es

...

1.906

 Yeah.

1.906

es

...

1.907

 One way I can have it fail is to add a space right in one.

1.907

es

...

1.908

 So I'd be looking for an object named OSC and I didn't see one.

1.908

es

...

1.909

The other thing I could do wrong would be to not put a space there and so it would look for an object named "OSC tilde three" which doesn't exist.

1.909

es

...

1.910

[75:46] Student:  Are there any defaults if you don't put a number in there?

1.910

es

...

1.911

[75:48] Miller:  Yeah, zero.

1.911

es

...

1.912

[laughter]

1.912

es

...

1.913

[75:51] You can add zero to something, you could multiply by zero.

1.913

es

...

1.914

But if you don't fill that number in, then the other inlet becomes an audio inlet.

1.914

es

...

1.915

 Then you can run an audio signal in there instead.

1.915

es

...

1.916

 I wasn't going to tell you that.

1.916

es

...

1.917

If I just want to just multiply by something else, then I just don't say what multiplies by this thing and then it becomes an audio input.

1.917

es

...

1.918

 Then you can be multiplying two of the audio signals.

1.918

es

...

1.919

That's really for next time, but that's the thing you would do.

1.919

es

...

1.920

 Yeah?

1.920

es

...

1.921

[76:38] Student:  I have a question.

1.921

es

...

1.922

 Why does the print object not have two inlets? Why are you going just inlets down this way to the right?

1.922

es

...

1.923

[76:46] Miller:  Yeah, isn't that stupid? OK.

1.923

es

...

1.924

So inputs to objects can have various functionalities, and one of the particular things that you can send an input is an audio signal.

1.924

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1.925

 But there are other things you can send as an audio signal input as well.

1.925

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1.926

[77:06] Of course if a thing had two different audio signal inputs, then we'd have to have two different inlets in order to be able to disambiguate them.

1.926

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...

1.927

But if it takes two things that are different, like the message in an audio signal, then you get away with these in the same inlet.

1.927

es

...

1.928

If there was less clutter on the screen, you'd just combine them.

1.928

es

...

1.929

 That's the simple answer.

1.929

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1.930

[77:30] Other questions? All right.

1.930

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1.931

 Go look at the homework assignment.

1.931

es

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1.932

 I don't know if my machine is going to be able to play it.

1.932

es

...

1.933

 But it's going to be to do this.

1.933

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1.934

[tone sounds]

1.934

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1.935

[77:40] Firefox...

1.935

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1.936

 I don't know if I bookmarked it.

1.936

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1.937

[tone sounds]

1.937

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1.938

[77:47] And somewhere down here...

1.938

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...

1.939

You get your assignment here, which is to do this.

1.939

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...

1.940

Now I don't know if this is going to play correctly, so...

1.940

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...

1.941

[tone sounds]

1.941

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1.942

[78:03] It's lame.

1.942

es

...

1.943

All it is, is just a musical fourth that gets louder and softer.

1.943

es

...

1.944

It's checking whether you can control amplitudes and frequencies, and understand the difference between them.

1.944

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...

1.945

And it's checking whether you can actually get around the oscillator, and the multiplier, and the adder.

1.945

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...

1.946

[78:27] Basically what this amounts to is understanding oscillators, frequencies and amplitudes -

1.946

es

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1.947

 - and being able to kick PD on -- which is probably going to be the hard part.

1.947

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1.948

[78:39] Student:  When we turn in homework we'll be turning in all of this?

1.948

es

...

1.949

[78:42] Miller:  Oh.

1.949

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...

1.950

To turn the homework in, just upload the patch you made.

1.950

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1.951

 And I will give you more details about how the patch should act in order to conserve the TA's sanity.

1.951

es

...

1.952

There should be a clear way to turn it on, that sort of thing.

1.952

es

...

1.953

 But more about that next time.

1.953

es

...