Tutorial 4KeyWords Mouse

8/9/2019 Tutorial 4KeyWords Mouse

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can specify the name of

the argument you are changing followed by a colon and the value.

Keywords can be found in

the documentation files. The documentation for SinOsc.ar shows:

SinOsc.ar(freq, phase, mul,

add). The keywords are freq, phase, mul, and add. Using keywords

not only allows you to

enter a single argument out of order, but to mix the order of the

arguments. Here are several

versions of the SinOsc example written using keywords. All of them

have precisely the same

meaning.

keywords*/

({SinOsc.ar(freq: 44! p"ase: ! #ul: .4! add: )}.play$)

({SinOsc.ar(p"ase: ! freq: 44! add: ! #ul: .4)}.play$

)

({SinOsc.ar(freq: 44! #ul: .4)}.play$)

/*

Another good reason for using keywords is clarity. The keyword

provides a short explanation

of what each value means, like a short comment.

The last reason for using keywords is portability. Earlier I said it is

important to understand

that argument lists are not interchangeable. Consider these two lines:

Saw.ar(100, 500, 600)



and SinOsc.ar(100, 500, 600). The arguments for Saw are freq, mul,

and add. But for SinOsc

they are freq, phase, mul, and add. So the two lists are not

interchangeable. I can certainly use

100, 500, and 600 as arguments for the SinOsc, but they don't mean

the same thing as

they did with the Saw. A phase of 500 makes no sense, and a mul of

600 without an add will

produce negative values, probably not what I want.

But if I use keywords (and provided the two Ugens have the same

keywords), then I canswap the objects: SinOsc.ar(freq: 100, mul: 500, add: 1000) and

Saw.ar(freq: 100, mul: 500,

add: 1000) will have a similar effect in a patch. Warning: this can be

either dangerous or a

source of serendipity. You should always double check the keywords

and understand what

they mean in a patch. If a keyword is incorrect it is ignored, but you

do get a warning posted

to the post window.

*/

({

SinOsc.ar(freq: SinOsc.ar(

freq: %&!

add: &!#ul: '

)!add: !#ul: .4!p"ase:

)}.play



)

/*

MouseX.kr and MouseY.kr - MouseButton

In the examples above we changed each value, then ran the code,

then changed the value and

ran the example again. You may have wished you could attach some

type of knob to the

patch so that you could try a range of values at once. This is what

MouseX.kr and MouseY.kr

will do. They link mouse movement and position to values that can be

used in the patch. Thefirst three arguments are: minval, maxval, warp.

These ugens can replace any static value with a range of values that

change in real time in

relation to the position of the mouse on the screen. As an illustration,

try the first patch

reproduced below with a MouseX in place of the first argument for

LFNoise0.

ouse (+,oise! SinOsc! #ul)*/

({SinOsc.ar(+,oise.ar

(ouse.kr(%! &)! &! -)! #ul: .&)}.play$)

//dd ouse to t"e add ar0u#ent


(ouse.kr(%! &)! &! ouse.kr(&! %))! #ul: .&)}.play$)

/*

If you want to see the values that the mouse is triggering, send the



message.poll and the values will

appear in the post window.

*/


(ouse.kr(%! &).poll! &! ouse.kr(&! %).poll)! #ul: .&)}.play$)

/*

Much easier than changing, trying, changing, trying, etc.

In the example below MouseY (Y axis is top to bottom) is used to

control amplitude. The

minval is 0.9 and maxval is 0.0. These may seem backwards, but the

minimum position for

the mouse is actually the top of the screen, the maximum is the

bottom, and it makes more

sense to me to have the top of the screen 0.9. The next example

adds a MouseX to control

frequency. The minimum value is A 220 and the maximum is twooctaves higher, or 880.

Since the motion of the mouse spans two octaves you might be able

to play a tune using the

mouse to find each pitch. First try an octave, then a fifth, then a scale.

See if you can play a

simple tune, such as Mary Had a Little Lamb.

ouse controllin0 a#p and freq

*/({SinOsc.ar(44! #ul: ouse.kr(.1! ))}.scope$)

({SinOsc.ar(ouse.kr(''! 22)! #ul: .3)}.scope$)





for exponential. Try playing a melody or major scale with the following

adjustments. You

will notice that with an exponential warp the whole and half-steps

seem to be the same

distance all across the screen.

eponential c"an0e*/

({SinOsc.ar(ouse.kr(''! 22)! #ul: .3)}.play$)

(

{SinOsc.ar(ouse.kr(''! 22! 5eponential5)! #ul: .3)}.play$)

/*

As a general rule you will want to use exponential values when

dealing with frequency.

I introduce MouseX and Y as a tool for trying values in patches and

experimenting in real

time, but it is reminiscent of one of the earliest (and very successful)

electronic instruments;

the Theremin. The Theremin controlled pitch and amplitude by

proximity of the performer's

hand to an antenna and protruding loop. Performers "played" the

Theremin by moving their

hands closer or farther away from the antenna or loop.

Below is a virtual Theremin with controls connected to mouse position: up

and down for

pitch, left and right for amplitude. You can practically see the spaceship

door opening:

6laatu 7arada nikto8







frequency.

Fortunately there is a method for generating the frequency of an

equal tempered scale by way

of MIDI. SC understands MIDI numbers, and can convert them to

frequency. By way of

review; the MIDI number for C4 is 60, and each half-step is 1. To

convert these to frequency,

use the midicps message.

?&@! &2! &1! -! -%! -'! -3! -4! -&! --! -@! -2! -1! @!@%A.#idicps.round(.%)$

Now back to the original MouseX control patch, with even more

confusion. We can now

express the two octave range using the MIDI numbers 57 (A3, or 220

Hz) to 81 (A5, or 880

Hz). But wait, are you a step ahead of me? Do you use a linear warp,

or exponential warp? In

this case, linear, because MIDI values are linear. That is to say the

difference between thefirst octave (57 to 59) is the same as the second (59 to 81): 12.

The first version of this improved patch appears to have correct

tracking with pitches, but the

values are not discrete. That is because the MouseX will still return

fractions, that is values

between the MIDI pitches, such as 62.1453 or 74.874. To force them

to be discrete, we add

the round message, which rounds them to 1. (Try 0.5 and 2.0 for

quarter tone and whole tone

scales).

*/





"ert!.%)

}))

//say o#...

(// #odal space// #ouse controls discrete pitc" in dorian #odear scale! 7uBer$scale ; +loatrray?! '! 3.'! &! @! 1! %A$ // dorian scale7uBer ; CuBer.alloc(s! scale.sie!%! {E7E 7.setns0(! scale) })$

({ar #i$

#i ;

// lead toneSinOsc.ar(

(De0ree9o6ey.kr(

7uBer.7ufnu#!ouse.kr(!%&)! // #ouse indees into scale%'! // %' notes per octae%! // #ul ; %@' // oBset 7y @' notes

)F +,oise%.kr(?3!3A! .4) // add so#e low freq stereo detunin0

).#idicps! // conert #idi notes to"ert

!.%)

// drone &t"sF GH+.ar(+Hulse.ar(?42!&&A.#idicps! .%&)!

SinOsc.kr(.%! ! %! @').#idicps! .%! .%)$

// add so#e @5s euro=space=rock ec"oIo#7,.ar(#i! .3%! .3%! '! %! #i)

}.play))

/*

MouseButton

You can also use MouseButton.kr to control parameters in a patch. The



arguments are: minval, maxval, lag

(Use the left button)

*/

{SinOsc.ar(ouseCutton.kr(4! %-! .%)! ! .%) }.play$

{SinOsc.ar(ouseCutton.kr(4! @4! ')! ! .%) }.play$

({SinOsc.ar(+,oise.ar(ouseCutton.kr(%! &! &)! &! -)! #ul: .&)}.play$)

/*There are other methods for linking an external control to a value in a

patch. You can use

TabletX, TabletY, and TabletZ if you have a Wacom input device. You

can also link controls

to an external MIDI control surface or keyboard. You can attach

actions to the computer

keyboard (keystate) or build a GUI with sliders and buttons. The code

required for each of

these methods is a bit too involved for this section of the text. For now

I would like to focus

on internal automatic controls.

MORE FUN!

*************************************************************************

The patch below uses only two SinOsc and one LFNoise0, but can

generate very rich sounds

because of the way they are linked together (frequency modulation,





(// eponential rando#{i.>ll(%'! // nu#7er of oscillators{ar0 i$

Han'.ar(SinOsc.ar(SinOsc.ar(freq: ouse.kr(rrand(.%! &.)! rrand(3.! '.))! // speed of i7rato#ul: ouse.kr(%! &)! // widt" of i7ratoadd: eprand('! &))! // freq of oscillators#ul: #a(! +,oise.kr(ouse.kr(rrand(%! -)! rrand(-! %)))))!

%..rand')})*.3}.play)

(

// linear rando# waes{i.>ll(%'! // nu#7er of oscillators{ar0 i$Han'.ar(SinOsc.ar(SinOsc.ar(

freq: ouse.kr(rrand(.%! &.)! rrand(3.! '.))! // speed of i7rato#ul: ouse.kr(%! &)! // widt" of i7ratoadd: rrand('! &))! // freq of oscillators#ul: #a(! +,oise.kr(ouse.kr(rrand(%! -)! rrand(-! %)))))!

%..rand')})*.3}.play

)

/*

Jen ore +un8

Hractice wit" t"e patc"es we "ae used so far as well as t"eea#ples 7elow. dd #ouse controls to arious ar0u#entsand see w"at "appens. Jplore t"e "elp >les for t"e KLensyou aren5t fa#iliar wit". 9ry recordin0 to t"e "ard drie andopen your sound >le in udacity and pro9ools.*/

(// #oto re



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Tutorial 4KeyWords Mouse