Below is the concert order for tomorrow at 3pm in Lincoln B21 including your assigned rehearsal slot. PLEASE BE ON TIME AND READY WITH YOUR MATERIALS. The ten minutes can be a very useful slot, but only if you arrive ready to work. Machine/studio assignments are listed at the far left. Note again the alternation intended to facilitate a smooth performance and rehearsal process. The studio studios, C and D, will be emptied starting at 9am for rehearsals.
If your name does not appear below or if a change is required, email me immediately. I look forward to seeing your work tomorrow!!
Our final class presentation will be December 4th at 3pm in our classroom B21 with rehearsals and sound checks in the morning before the performance. More details about time and logistics will be discussed in class.
Attached is my example from class, connecting to the “localhost” (to yourself!) and sending OSC data over port 9000. You can, of course, modify this with the IP address of another machine if you want to test sending from one computer to another.
Note my post just below with download instructions for PD-extended AND some links for tutorials to get you starter with the basics.
See the help files for [sendOSC] and [dumpOSC] for more options. Click HERE to download … you will need to unzip the patch to get the resulting “.pd” file.
Download the installer appropriate to your operating system and architecture (I don’t recommend the “Alpha” release for prime-time usage. If you are curious about recent developments in the interface (significant) and function of PD or interested in participating in development, you are welcome to download that also).
For some Mac users, you may need to install “X11”, the venerable Unix graphics system on which some of PD’s functionality rests. You can download that, available now as “XQuartz” from here.
Here, too, is mPD, a mobile version for Android, for those interested:
There are many other resource available of varying quality. I always find it informative to peruse the manydisparateways people are using Reason, a remarkably flexible tool for sound design and composition. Often these reveal hidden techniques and tricks for better sound design.