Re: [sc-dev] demand rate

On Feb 19, 2006, at 5:57 PM, Joshua Parmenter wrote:

I don't know about the rest of you, but the separation between synthesis and structure in SC3 is what I consider to be its biggest strength over SC2.

and also its biggest weakness I find.

Going back to the single threaded, everything on the synth side idea seems like a bad idea to me. SC2, even when it seemed like something worked the way it should after time and time again of testing would still bug out at the worst times..

I got very liquid things with SC2 and could do things like

// scale should be the intervals you want, scrambled etc.

Instr([\hassel,\sequenced],{ arg input,scale,degree,beat,envperc,sensitivity=20.0,thresh=0.1,maxDelay=1.5;

var buffer,tempo,bleed;

var schedSynth,ts;

input = Mono(input);

buffer = Buffer.for(input,maxDelay);

tempo = GetTempo.kr;

bleed = min( Amplitude.kr(input,mul: sensitivity) , 1.0) thresh: thresh;

RecordBuf.ar(buffer,input, bleed,1 - bleed,0.0,1,1.0);

schedSynth = thisSynth;

ts = TSpawn.ar({ arg spawn;

var bt;

if((bt = beat.poll).notNil,{

schedSynth.sched(bt,{ spawn.trigger });

});

Pan2.ar(

PlayBuf.ar(

buffer,

44100,

degree.poll.degreeToKey(scale.poll).midiratio ,

0.0

) * EnvGen.kr(envperc),

1.0.bilinrand

)

},2,nil,Impulse.kr(0));

},[

\audio,

\scale,

\degree,

[0.125,16.0],

\envperc,

[0,30.0],

[0.0,1.0],

StaticSpec(0.1,5.0)

]);

where the inputs could be patterns or floats or ugens. the degree and the beat (delta) were usually patterns

I quite like the idea of blurring the distinction between :

pattern rate (which always feels very "logical" and thinky)

and

kr or ar rate (which feels like you don't control it, it gets wet and moves).

it was precisely because sound and sequence were intermingled that I enjoyed working with SC2. That's where the beautiful blends and vibrating sound objects happened.

All of my best music and sound was done with SC2 and I haven't been able to translate most of it to SC3 due to the very large gap between client and server.

This isn't a criticism of JMC or of separation; its just something I noticed after working with it for a while. Music with code is a process of experimentation.

-cx